In Kepler's Gardens

A global journey mapping the ‘new’ world In Kepler’s Gardens AUTONOMY

Helsinki

Jerusalem

Cairo Bangkok Esch Tallinn Nicosia Grenoble Melbourne Linz UNCERTAINTY Paris London ECOLOGY

Oslo Moscow Auckland Vilnius Amsterdam

Tokyo Johannesburg

Munich

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San Sebastian Riga DEMOCRACY Dublin Daejeon Utrecht Vienna Los Angeles Ljubljana

Buenos Aires Barcelona Montréal

Chicago TECHNOLOGY Seoul Prague Hong Kong Athens

Bergen Berlin Leiden Milan New York Brussels HUMANITY Taipei Jakarta

ARS ELECTRONICA 2020 Festival for Art, Technology & Society In Kepler’s Gardens A global journey mapping the ‘new’ world

Edited by Gerfried Stocker / Christine Schöpf / Hannes Leopoldseder Ars Electronica 2020 Festival for Art, Technology, and Society

September 9 — 13, 2020 Ars Electronica, Linz

Editors: Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker

Editing: Veronika Liebl, Anna Grubauer, Maria Koller, Alexander Wöran

Translations: German — English: Douglas Deitemyer, Daniel Benedek

Copyediting: Laura Freeburn, Mónica Belevan

Graphic design and production: Main layout: Cornelia Prokop, Lunart Werbeagentur Cover: Gerhard Kirchschläger Minion

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ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 ClimatePartner.com/53401-2678-0009 Marketing Bauer Hannes, Bianca Wegschaider, Carina Purner, ARS ELECTRONICA 2020 Katja Bozic, Agnes Peterseil, Eva Tsackmaktsian, Ars Electronica Futurelab: Horst Hörtner, Roland Carola Pöppl, Christian Atteneder, Christian Kern, Claudia­ Festival for Art, Technology & Society Christine Utz Haring, Hideaki Ogawa, Flavia­ Andessner, Friedrich Sturm, Daniel Mayr-Kellerer, Dietmar Röhrnbacher, Bachinger, Sanja Bajakic, Florian Berger, Patrick Berger, Edmund Schwarz, Elisabeth Kopatsch, Elisabeth Ulbrich, Prix Ars Electronica 2020 Alexandre Bezri, Kerstin Blätterbinder, Birgit Cakir, Arno Elke Strobl, Emil Pop, Erich Viehböck, Ernst Berger, Ewald Organization Deutschbauer, Manuel Dobusch, Samuel Jakob Eckl, Dorner, Ewald Ziss, Franz Raab, Franz Rechberger, Franz Ars Electronica Linz GmbH & Co KG Idea: Hannes Leopoldseder Marianne Eisl, Stephan Feichter, Peter Freudling, Mat- Trillsam, Franz-Josef Bodingbauer, Friedrich Außer- Conception: Christine Schöpf, Gerfried Stocker thew Gardiner, Vanessa Graf, Barbara Habringer, Peter wöger, Gerald Atteneder, Gerald Hanusch, Gerhard Co-CEOs Managing Director: Martin Honzik Holzkorn, Kyoko Kunoh, Anna Kuthan, Elisabeth Luger, Pammer, Gerhard Priesner-Grömer, Gregor Pechmann, Markus Jandl (starting 01.09.2020) Director of European Cooperation, Maria Mayr, Stefan ­Mittlböck-Jungwirth-Fohringer, Otto Günter Pilgerstorfer, Günther Wolfinger, Heinrich Wieser, Gerfried Stocker, Finance & Organization: Veronika Liebl Naderer, Nicolas Naveau, Ali Nikrang, Maria Anna Pfeifer, Hermann Steinbeiss, Holger Watermann, Hubert Sol- Diethard Schwarzmair (until 31.08.2020) Technical Director: Karl Julian Schmidinger Johannes Pöll, Daniel Rammer, Erwin Reitböck, Clem- berger, Ines Schallauer, Infanger Michaela, Isensee Ars-Electronica-Straße 1, 4040 Linz, Austria ens Francis Scharfen, Raphael Elias Schaumburg-Lippe, Thomas, Janine Ulz, Johann Wagner-Mistlberger, Tel: +4373272720 Head of Prix Ars Electronica: Emiko Ogawa Simon Schmid, Yoko Shimizu, Susanne Teufelauer, Johanna Gattringer, Josef Hofer, Jozef Badura, Jürgen Fax: +4373272722 ­Georgios Tsampounaris, Julian Zauner Schwarz, Karin Kaiser, Karin Müller, Klaus Haiböck, [email protected] Production Team: Victoria Absmann, Christl Baur, Klemens Lengauer, Littringer Margit, Magdalena Sonn- Marion Friedl, Jürgen Hagler, Veronika Krenn, Andrea Ars Electronica Festival / Prix / Exhibitions: ­Martin berger, Manfred Pichler, Manuela Kurz, Manuela Sass- Co-organizer CyberArts Exhibition Kohut, Katharina Kolar, Kristina Maurer, Hans Christian ­ Honzik, Veronika Christina Liebl, Karl Schmidinger, mann, Margit Haider, Margit Littringer, Markus Schiller, OÖ Landes-Kultur GmbH Merten, Manuela Naveau, Christina Radner, Jutta Christl Baur, Florina Costamoling, Marion Friedl, Martin Gregus, Martin Titz, Melanie Neundlinger, Michael Managing Director: Alfred Weidinger Schmiederer, Karla Spiluttini, Nana Thurner, Joschi Viteka Jessica Galirow, Anna Grubauer, Ferenc Hirt, Isabella Fuchs, Michael Mautner, Michael Secklehner, Michaela OK im OÖ Kulturquartier Kartusch, Andrea Kohut, Katharina Maria Kolar, ­Veronika Lindbichler, Mohammad Al Arjawi, Ömer Horst, Peter Artistic Director: Martin Sturm Sanna Krenn, Kristina Maurer, Hans Christian Merten, Oberleitner, Peter Pirklbauer, Petra Riedl, Petru Mihai, Ars Electronica Linz GmbH & Co KG Manuela Naveau, Andrew Newman, Emiko Ogawa, Reinhard Gärtner, Reinhard Pirklbauer, Reinhold Gärt- Co-organizer Kepler Gardens Christina Radner, Michael Samhaber, Karla Spiluttini, ner, René Voglmayr, Roland Rauöcker, Rudolf Reitermayr, Co-CEOs Johannes Kepler University Linz Laura Welzenbach, Carla Milena Zamora Campos Sabine Wimmer, Sandra Spiesberger, Sertac Lalelidir, Markus Jandl (starting 1.9.2020), Gerfried Stocker, Rector: Meinhard Lukas Silvia Wöss, Smajlagic Amir, Sonaja Raus, Stefan Diethard Schwarzmair (until 31.08.2020) Ars Electronica Management Services: ­Elisabeth Kronawithleitner, Stefan Madlmayer, Susanne Casa- Co-organizer Campus Ars Electronica Center: Andreas Bauer, Chris- Kapeller, Markus Jandl, Isabella Albel-Feicht, granda, Susanne Hametner, Sylwia Siemionow, Tamara University of Art and Design Linz toph Kremer, Hassan Abou-Alfadel, Sahel Ahmadzai, Robert Bauernhansl, Patrick Buchinger, Barbara Diesen- Dekum, Thomas Bernhard, Thomas Grasböck, Torsten Rector: Brigitte Hütter Viktoria Aistleitner, Sonja Bailer, Joan Bairam, reither, Johannes Egler, Michaela Frech, Anton Grünwald Roß, Vincent Koch, Walter Auböck, Walter Braun, Walter Reinhard Bengesser, Anastasia Bragina, Sarah Brait, Lisa- Belada, Haitham Harwash, Martin Hieslmair, Barbara Karlinger, Weiß Wolfgang, Wilhelm Nimmervoll, Willibald Artistic Director: Gerfried Stocker Maria Brandstötter, Manuela Bruckner, Esma Cingi, Hinterleitner, Julia Hofstätter, Sabine ­Hummelbrunner, Somasgutner, Wolfgang Frank, Wolfgang König, Wolfgang Managing Director: Martin Honzik Julia Croton, Moritz Danner, Shirin Darwish, Aline Stephan Kobler, Daniela Krassnitzer, Katia Kreuzhuber, Ladendorfer, Zoran Zuza Director of European Cooperation, Darwish, Blanka Denkmaier, Reinhart Ebner, Erika Dominic Lengauer, Bernhard Mandl, Florian Miesen- Finance & Organization: Veronika Liebl Eiter, Lilly Ensinger, Amir-Ali Eshghi, Julia Felberbauer, berger, Peter J. Nitzschmann, Edith ­Noska-­Neubauer, Technical Director: Karl Julian Schmidinger Katrin Fenninger, Melinda File, Andrea Fröhlich, Philipp Humayun Omari, Agnes Peterseil, Beate Prinz, ­Gabriele CYBERARTS Exhibition Team / Gartlehner, Mitra Gazvini-Zateh, Elisabeth Gerhard, Purdue, Gunther Ritz, Christopher Sonnleitner, Head of Festival: Christl Baur OÖ Landes-Kultur GmbH: Firas Ghilan, Dominic Gottinger, Marlene Grinner, David Starzengruber, Eva Tsackmaktsian, Michaela Head of create your world: Hans Christian Merten Melanie Gruber, Nicole Grüneis, Thu Trang Eva Ha, Har- Wimplinger Genoveva Rückert, Andreas Kurz, Maria Venzl, ald Haas, Birgit Hartinger, Alexandra Heiligen­brunner, Martina Rauschmayer, Marlies Stöger Production Team: Danny Heilmann, Barbara Heinzl, Katherine Heller, Ars Electronica Solutions: Michael Mondria, Michael Lea Sophia Bernhard, Hortense Boulais-Ifrene, Michael Thomas Hillinger, Katharina Hof, Florian Hofer, Sri Kaiser, Andreas Pramböck, Ina Badics, Chris Bruckmayr, OK Night & Streaming: Burgstaller, Alexis Carras, Melinda File, Hannes F. Franks, Rahayu Hofstadler, Gerold Hofstadler, Eva Hof­städter, Stefan Dorn, Stefanie Farkashazy, Michaela Fragner, Markus Reindl, Jarno Bachheimer Petra Freimund, Marion Friedl, Jessica Galirow, Nils Gal- Fabian Hollinetz, Anca Ignat, Thomas Jannke, David Yvonne Hauser, Alexander Heilinger, Fadil Kujundzic, Production Team: Katharina Baldinger-Hackl, Alfred list, Anna Grubauer, Jürgen Hagler, Randolf Helmstet- Jentgens, Sabrina Kaselitz, Herwig Kerschner, Sandra ­Harald Moser, Patrick Müller, My Trinh Müller-Gardiner, Fürholzer, Martin Haselsteiner, David Kraxberger, ter, Markus Hillebrandt, Manuela Hillmann, Ferenc Hirt, Kiendler, Jona Kislinger, Sarka Klafböck, Viktoria Klepp, Robert Pibernig, Sabine Sieberer, Dominik Trichlin, Bernhard Kitzmüller, Franz Quirchtmayr, Felix Pöch- Isabella Kartusch, Ruth Köchl, Andrea Kohut, Katharina Karin Knoll, Michael Koller, Thomas Kollmann, Wolfgang Markus Wipplinger, Karim Zuderell hacker, Aron Rynda, Andreas Steindl, André ­Tschinder, Kolar, Maria Koller, Veronika Sanna Krenn, Tanja Lepschi, Königsmaier, Sabine Leidlmair, Anna Katharina Link, Hans-Jörg Weidinger, Simon Wilhelm, Gerhard Kristina Maurer, Nives Meloni, Manuela Naveau, Andrew Jakob Luckeneder, Melanie Ludwig, Kornelia Maier, Ulrike Ars Electronica International: Amanda Augustin, Lea Wörnhörer Newman, Michaela Obermayer, Emiko Ogawa, Benja- Mair, Clemens Mock, Erika Mondria, Horst ­Morocutti, Sophia Bernhard, Hannes Franks, Manuela Hillmann, min Pittertschatscher, Christina Radner, Marco Rainer, Claudia Moser, Silvia Mukherjee, Daniel Murina, Ruth Köchl, Tanja Lepschi, Nives Meloni, Julian Schmie- Dallas Rockvam, Michael Samhaber, Michael Sarsteiner, Heinrich Niederhuber, Andrea Oberfichtner, Michaela derer, Daina Silina, Mauricio Ernesto Suarez Ramos, Nana Sonja Schachinger, Thomas Schlager, Julian Schmie- Obermayer, Hana Opresnik, Dietmar Peter, Svetlana Thurner, Alexander Wöran, Yazdan Zand derer, Armin Seidl, Daina Silina, Karla Spiluttini, Helmut Kunstuniversität Linz — Universität Petrovic, Katharina Pilar, Armin Pils, Ulrike Rieseneder, Steinecker, Mauricio Ernesto Suarez Ramos, Nana Ezan Riza, Clara Roth, Petra Saubolle-Hofmann, Alina für künstlerische und industrielle Gestaltung Thurner, Lukas Traxler, Felix Tröbinger, Jochen Tuch, Sauter, Birgitt Schäffer, Mario Schmidhumer, Sarah Edin Turalic, Joschi Viteka, Laura Welzenbach, Michaela Rector: Brigitte Hütter Schmidt, Lydia Schneeberger, Fabian Schwarz, Thomas Johannes Kepler University Linz Wimplinger, Alexander Wöran, Carla Milena Zamora Vice-Rectors: Erik Aigner, Karin Harasser, Frank Louis Schwarz, Manfred Seifriedsberger, Majd Shukair, Mag- Campos, Vivian Zech Rector: Meinhard Lukas Team: Christa Sommerer, Manuela Naveau, Sylvia dalena Sick-Leitner, Minoosh Sorkhkamal Zadeh – Vice-Rectors: Christopher Lindinger, Stefan Koch, Leitner, Davide Bevilacqua, Julia Nüßlein, Fabricio Steininger, Martin Spanka, Elisabeth Spöck, Margarethe Press Christiane Tusek, Alberta Bonanni, Elgin Drda Lamoncha, Enrique Tomás, Gloria Meynen, Tina Frank, Stöttner-Breuer, Thomas Straßhofer, Andreas Stürmer, Christopher Sonnleitner, Joan Bairam, Robert Bauernhansl, Team: Abdullah Katirci, Adrian Vitale, Alex Ros, Sander Hofstee, Irene Posch, Anne Nigten, Sofia Braga, Johannes Stürzlinger, Bhoomesh Tak, Michael Thaler, Martin Hieslmair, Barbara Hinterleitner, Katia Kreuzhuber, Alexander Freischlager, Andrea Mitter, Andreas Birn­ Franz Linimayr, Ewald Haider, Markus Decker, Alfred Thomas Viehböck, Raffaela Vornicu, Manuel Walch, Yazdan Zand gruber, Andreas Himmelbauer, Andreas Reindl, Angelika Wollersberger, Christian Forstner, Julia Gschwendtner, ­Florian Wanninger, Gregor Woschitz Fenninger-Wenter, Anna Hametner, Arnold Pilgerstorfer, Eva Fostl ORGANIZER BRAGA BREMEN BOURGES Antre Peaux Ecole nationale supérieure gnration Universum® Bremen Ars Electronica Linz GmbH & Co KG d’art (ENSA) is a company of the city of Linz.

EVENT-PARTNERS BRUSSELS BRISBANE

Museum of Brisbane Centre for Fine Arts BUCHAREST UNATC CINETic Arts Brussels (BOZAR)

H3 Studio Museo de la Universidad Universidad Nacional LatBioLab Latinamerican UAI Universidad Abierta

KEPLER GARDENS BUENOS AIRES Nacional de Tres de Febrero de Tres de Febrero BUENOS AIRES Bioart Lab Interamericana - Centro de Arte y Ciencia CAIRO

PiNA UR Institute Waag Nxt Museum Vrije Universiteit Cairotronica CAMBRIDGE Space Exploration Initiative CAMBRIDGE Tangible Media Group MIT Media Lab AMSTERDAM

ADRIATIC SEA ADRIATIC Amsterdam

CLUJ ATHENS CASTELO AUSTRAL CHICAGO RODRIGO CAMPINAS Onassis Stegi AUCKLAND Digital Research Hub University of Auckland arc/sec Lab Austral University of University of Campinas Municipality of Figueira de Art & Technology Studies Cluj Cultural Centr (DRH) Chile (UNICAMP) Castelo Rodrigo at the School of the Art Institute of Chicago

F UTURI S TIC FRE A K R E SEARCH L A B C L U STE R

DENVER CLINIC FOR OPEN SOURCE ARTS DAEJEON DRESDEN AVIGNON SPACE ZAB CO., LTD. BANGKOK French Tech Grand Tentacles Freaklab Thailand Spaceth Spacezab Daejeon Museum of Art The Clinic for Open Source Deutsches Hygiene Science Gallery Dublin Provence iHOY Arts (COSA) Museum Dresden DUBLIN / INT

The hyper organism musical sensor ดนตรีเซนเซอร์จากสิ่งมีชีวิต

About ESCH iHoy iHoy is an experiment that examines the .BEEP { เป็นโปรเจคเชิงทดลองที่ศึกษาปฏิสัมพันธ์ระหว่างสิ่งเเวcollection;}interactions between ecology, sensors, and ดล้อม เซนเซอร์ เเละการประมวณผลข้อมูล iHoy computing. iHoy is composed of hoy (Thai word for a mussel) in the environment that ประกอบไปด้วยหอยซึ่งถูกเลี้ยงไว้ในสิ่งเเวดล้อมปิดซึ่ง ESPOO/

is being monitored through the internet. ZAGREB ถูกบันทึกไว้ผ่านกล้องดิจิตอลที่ส่งข้อมูลผ่านอินเทอร์เ iHoy explores how the behaviors of a living น็ตเพื่อศึกษาพฤติกรรมของหอยต่อสิ่งเร้าสามารถใช้เ organism such as hoy can be used as the

ป็นเซนเซอร์วิเคราะห์มลภาวะในระบบนิเวศ iHoy ecological sensor for monitoring pollutions HELSINKI เเปลงพฤติกรรมการเคลื่อนไหวของหอยมาเป็นเสียงที่ in water. iHoy visualizes the hoy’s behavior มีความถี่ต่างกันเพื่อศึกษาการเปลี่ยนเเปลงของหอยด้ว using image processing algorithmic to ย image processing synthesize music from the movement of EINDHOVEN BARCELONA Hangar NewArtFoundation .BEEP { collection;}the hoys. UOC - ISEA Barcelona Institut Ramon Llull Kontejner MU Hybrid Art House Kulturhauptstadt Esch Aalto University DUBROVNIK / DUBROVNIK

INSTITUTE of ART & CULTURE CONTEMPORARY AND DIGITAL ART FAIR GARDEN

Contaminants

OFFF Barcelona BARCELONA Espronceda-Institute of Art MIRA Festival Institut Ramon Llull Helsinki XR Center KÖNIG GALERIE Galerie Liusa Wang Daata Editions PSM Gallery CADAF The Contemporary & Culture and Digital Art Fair Image Processing SPACES GALLERY Mussel

Computer

BASEL gallery Music V E N T

./3 studio Institute for MEET Digital Culture UCA BARCELONA Sónar+D HeK House of Electronic Galerie Charlot MAM Mario Mauroner VENT gallery Carl & Marilynn Thoma Art LAST/RESORT Experimental Architecture Center Arts Basel Contemporary Art Vienna Foundation จะเป็นอย่างไรหากเราส ร้างเครื่องดนตรีที่เล่น ผ่านการวัดค่ามลภาวะ ในสิ่งเเวดล้อม What if we could use musical intr- ment to lay aed on pollution in the environment? GARAGE.DIGITAL POSTMASTERS Team BAVARIA

ดร.สุกัลยา ตันติวิศวรุจิ BELGRADE รศ.ดร.วีระศักดิ์ ดร.โอภาส ตันติฐากูร XR HUB Bavaria University of Applied TUM Munich LMU Munich Centerโพธิวัฒน์ งามขจรวิวัฒน์ for Promotion of Art Collection Deutsche sound:frame bitforms gallery Postmasters Gallery Garage Museum of พัทน์ ภัทรนุธาพร วชิรา ชัยวรณ์ Sciences Augsburg ผศ.ดร. สกล ธีระวรัญญู Science Telekom Contemporary Art

BERLIN BERGEN GALWAY BERKELEY Piksel - festival for art and Center for New Music CyberRäuber STEAMhouse, Birmingham Re.Riddle Gallery Niio blockchain.art The WRONG Aerial/Sparks technological freedom and Audio Technologies BIRMINGHAM City University (CNMAT) Communication, University Galway 2020 European European 2020 Galway Austrian Embassy Austrian Embassy MA Interaction Design Design Interaction MA PAROS NANTES the London College of LONDON LINZ / BERLIN / LEIDEN JAKARTA GRENOBLE Capital of Culture of Capital Studio Matthew Matthew Studio

of the London Arts Communication at Communication VALENCIA Nicosia

Gardiner Gardiner Media Art Globale Art Media Hexagone Scène Nationale Nationale Scène Hexagone le lieu unique lieu le Open Cell MADE Group Leiden University Arts Sciences Arts

Re-FREAM

OSLOFJORD

MILAN

Oslo Metropolitan LOS ANGELES Platform Art Connected Centre for Doctoral Training Training Doctoral for Centre Media and Arts Technology Technology Arts and Media

GDAŃSK at Queen Mary University University Mary Queen at

University MEET Digital Culture Digital MEET

UCLA ArtSciUCLA Center PLYMOUTH NEWCASTLE

(CAP)

of London

Center HELSINGØR

University of Newcastle University LIEPAJA Contemporary Art Contemporary Laznia Center for for Center Laznia

Interdisciplinary Centre for Computer Music Research (ICCMR), University of of University (ICCMR), LISBON MPLab – Liepaja University University –Liepaja MPLab

The Culture Yard Culture The

Art Research Laboratory ResearchArt Laboratory

Plymouth PARIS

JERUSALEM MONTREAL LVIV

Architecture, University University Architecture, Ciência Viva

The Bartlett School of of School Bartlett The Musrara, Naggar School Naggar Musrara,

IRCAM College London Center for Urban Urban for Center

Central Europe History of East East of History

ISEA2020 of Arts of GIJÓN

FASTLab

PORTO HONG KONG

LABoral Centro de Arte y Arte de Centro LABoral LIMA

Google Arts & Arts Google School of Creative Media Creación Industrial

Culture Lab

O Fundamento

MELBOURNE

Museo de Arte de Lima – Lima de Arte de Museo

Digital Anthropology Lab Anthropology Digital Art Thinking Australia Art FEMeeting JOHANNESBURG

Fak’ugesi African Digital Digital African Fak’ugesi Experimenta MALI PHI Innovation Festival Innovation Leonardo/Olats

www.fakugesi.com ONLINE SEPTEMBER2020 www.fakugesi.com ONLINE SEPTEMBER2020

POTSDAM GRANADA

HSINCHU

MOSCOW

LIVERPOOL

London College of Fashion, Filmuniversität Babelsberg

Design, The University of of University The Design, NIKOSIA – Andina Tecnología Alta HSE ART AND DESIGN DESIGN AND ART HSE Parque de las Ciencias las de Parque

University of the Arts Arts the of University

Melbourne School of National Tsing Hua Tsing Hua National Creative Exchange Creative Konrad Wolf Konrad PACE Pan-African Pan-African PACE Melbourne University SCHOOL London Quo Artis RISE ITICA ATA FACT

KAOHSIUNG MUSEUM OF Austrian Culture Forum Austrian WARSAW VILNIUS UTRECHT TEQUILA STAVANGER/ SILICON VALLEY SANTIAGO PRAGUE

FINE ARTS (KMFA) ARTS FINE FutureEverything OSLO DE CHILE

Tokyo Academy of Arts Prague Arts of Academy NOBA - Norwegian Bioart Bioart -Norwegian NOBA Open Austria Technology Powers Art Mad Machina Museo del Hongo IMPAKT Instituto Media HUMANOIL Adam Institute Mickiewicz Arena

TOULOUSE

Cité de l’espace de Cité

National Taiwan Normal

Wolverhampton

University of University UTRECHT (NTNU) University SLOVENIA

THESSALONIKI STOCKHOLM RIGA/ PRISMA: Art, Science,

HKU University Of The Arts Arts The Of University HKU KARLSRUHE

Technology Interdisciplinary Artists’ for Contemporary Investigative Art Investigative konS – Platform –Platform konS KTH Royal InstituteKTH of LTMKS (Lithuanian

Utrecht

Association) Letmekoo / Letmekoo Technology MindSpaces

TREBOLJE RIXC

WROCLAW NEoN Digital Arts Festival NEoN Digital Arts

Virtual and Physical Media Media Physical and Virtual Integration Association of Association Integration

RUK

SÃO LUIS

VALPARAISO (VPAT) Taiwan WRO ART CENTER ART WRO

ST. PETERSBURG

SYDNEY BioDesign Lab HfG Lab BioDesign

TOKYO Cultura Cultivamos CIA-UV University of of University CIA-UV

Valparaíso Artistic Artistic Valparaíso

Research Center Kur Futurelab Tactical Space Lab SODAS 21 23 21 SODAS

CENTRO DEINVESTIGACIONESARTÍSTICAS

UK Festival Arts Media Japan

tacticalspace.org UNIVERSIDAD DEVALPARAÍSO UCA University for the the for University UCA

Creative Arts Creative York Mediale York

TALLINN

YAMAGUCHI ST. STEFAN SAN SEBASTIAN VIENNA TAIPEI OB STAINZ SEOUL

Yamaguchi Center for Arts of Photography and Media Media and Photography of Tabakalera San Sebastian Estonian Academy of Arts of Academy Estonian VDA PhAMA (Department (Department PhAMA VDA Kaohsiung Film Archive Film Archive Kaohsiung K’ARTS Korea National National Korea K’ARTS Art at Vilnius Academy Academy Vilnius at Art Serpentine Gallery and Media [YCAM] Media and University of Arts of University Affairs, Government Government Affairs, Austria in Space in Austria Agency for Cultural Cultural for Agency ART Stieglerhaus of Arts) of (KFA) of Japan Art In Flux In Art IN FLUX

COOPERATION PARTNERS

.art FAB Verein zur Förderung von Arbeit und PSNC – Poznan Supercomputing and Amnesty International Österreich Beschäftigung Networking Center Hutchinson Drei Austria Liwest Kabelmedien GmbH NTS New Technology Ton & Bild Medientechnik Pädagogische Hochschule GmbH Systems GmbH GmbH OÖ Anton Bruckner Privatuniversität Fachhochschule Oberösterreich — Campus RIEGL Laser Measurement Systems GmbH Hagenberg Rotax MAX Dome Linz ArtTechLab Amsterdam Fachhochschule St. Pölten ScanLAB Projects Atelierhaus Salzamt FC - Francisco Carolinum Siemens Healthcare Diagnostics GmbH Austrian Council on Robotics and Artificial Fraunhofer MEVIS: Institute for Medical Image Intelligence Spin Digital Video Technologies GmbH Computing AWS – Jugend Innovativ Stadtpfarrkirche Urfahr Arbeiterkammer OÖ MAXON Computer GmbH Conrad Electronic GmbH WKO Oberösterreich Weyland GmbH Grand Garage & Co KG Bruckner Orchester Linz Stadtwerkstatt IMZ International Music + Media Centre c3 ULF - Unabhängiges Kepler Salon – Verein zur Förderung von LandesFreiwilligenzentrum CoderDojo Linz Wissensvermittlung VALIE EXPORT Center Linz Creative Region LINZ CENTER OF MECHATRONICS GMBH Visualization Center C Crossing Europe Film Festival Linz Marché du Film – Festival de Cannes White Castle Games Agency Edinburgh Futures Institute OMAi Rosenbauer International Ableton AG Österreichisches Rotes Linz AG LIVA Zero1 AG Kreuz Europe for Festivals, Festivals for Europe EFFE Polycular OG

ARS ELECTRONICA RECEIVES SUPPORT FROM

NHK (Japan BIO AUSTRIA Aruba Networks, CCF - Computer Center Fortinet Triple A Aqua Service Broadcasting Inc. Feldbach GmbH Corporation)

Europäische Kommission Europäische Kommission Creative Europe Europäische Union Horizon 2020 Erasmus+

Klangfarbe - NEC Dispaly Solutions S. Spitz GmbH Vöslauer Mineralwasser Bildrecht GmbH Musikinstrumente und Europe GmbH GmbH tontechnische Geräte Handelsges.m.b.H. Austria in the EU Bundesministerium für Bundesministerium Bundesministerium für Kunst, Kultur, öffentlichen Europäische und Bildung, Wissenschaft und Dienst und Sport internationale Forschung Angelegenheiten 4YOUgend - Verein OÖ KUKA CEE GmbH Association for Robots in Hilti Austria S.S.T. Security Wacom Co., Ltd. Jugendarbeit Architecture Ges.m.b.H.

OeAD-GmbH KulturKontakt Austria/ Chile Ministerio de Relaciones Ministerio de las Culturas, OeAD Exteriores, Dirección de las Artes y el Patrimonio Asuntos Culturales Chile Chile PROJECT PARTNERS

Flanders State of the Art Istituto Italiano di Cultura Botschaft der Verwertungsgesellschaft Bundesrepublik der Filmschaffenden VdFS Deutschland in Wien GenmbH STARTS Prize ´20 STARTS EU EMAP European Media Art esero Austria SyStem 2020 Platform MOBILITY PARTNER

European ARTificial AIxMusic space EU IMMERSIFY BR41N.IO Hyundai Import GmbH Intelligence Lab

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Contents

Gerfried Stocker Berkeley Chicago Jerusalem In Kepler´s Gardens 20 The Center for New Music and Audio Technologies Art & Technology Studies at the School of the Art Musrara, the Naggar School of Art and Society, (CNMAT), University of California, Berkeley, Institute of Chicago, [Dis]position 64 Finding Amir 84 Meinhard Lukas Machine Creativity at CNMAT 45 From the POSTCITY to Kepler’s Gardens 23 Cluj Johannesburg Bergen Cluj Cultural Centre, Questioning Hierarchies Fak’ugesi African Digital Innovation Festival, Piksel festival for art and Between Art and Science 65 Johannesburg & Pan-African Creative technological freedom, Piksel Cyber Salon 46 Exchange (PACE), Bloemfontein, ARS ELECTRONICA GARDENS Daejeon Fak’ugesi Pan-African Garden 85 Berlin Daejeon Museum of Art, CyberRäuber, CyberBallet 47 Daejeon Biennale Garden 66 Leiden Adriatic Sea Leiden University, The Step into Space Garden 86 Gjino Šutić, UR Institute, Robertina Šebjanič, PiN, Birmingham Denver Aaqua_forensic 2.0 28 STEAMhouse, Birmingham City University, The Clinic for Open Source Arts, Liepāja STEAM 48 COSA Connectors 67 MPLab — Liepāja University Art Research Laboratory, Amsterdam Planting a Resort for Mental Ecology 87 Waag—Technology & Society, Bourges Dresden Kepler’s Expedition to the Garden of Planet B. 29 Ecole nationale supérieure d’art (ENSA), Deutsches Hygiene-Museum Dresden, Lima Nxt Museum, Shifting Proximities 30 Antre-Peaux, DRUMS RADIO 49 Future Foods. What Will We Eat Tomorrow? 68 Museo de Arte de Lima — MALI, Vrije Universiteit Amsterdam, Hybrid Forms 31 Alta Tecnología Andina — ATA, Braga Dublin / Int Configurations around the Amazon 88 Antarctica gnration and INL — International Iberian Science Gallery Network, Igniting Creativity and Víctor Mazón Gardoqui, Harvesting Isolation 32 Nanotechnology Institute, Discovery where Science and Art Collide 69 Linz / Valencia / Berlin Art and Nanotechnology 50 Re-FREAM CONSORTIUM, Athens Dubrovnik / Zagreb Fashion.Technology.Sustainability. 89 Onassis Stegi, Stories of Athens 33 Bremen KONTEJNER | bureau of contemporary Universum® Bremen, Space Garden 51 art praxis, Quarantine 70 Lisbon Auckland Pavilhão do Conhecimento — Ciência Viva, Digital Research Hub and arc/sec Lab Brisbane Eindhoven Pavilion of Knowledge Garden 90 at the University of Auckland, Aotearoa 34 Museum of Brisbane, Man & Wah: CELESTON 52 MU Hybrid Art House, Worlding Worlds 71 FEMeeting, Cultivamos Cultura, Ionian University, Brussels Esch-sur-Alzette The Sanctuary for Independent Media, Austral Leonardo/OLATS, FEMeeting 2020 Garden 91 Austral University of Chile, Mutations 35 Centre for Fine Arts (BOZAR), Genetic European Capital of Culture Esch2022, Biotech Through the Eyes of Artists 53 A glimpse into the cultural capital program 72 Liverpool Avignon FACT, The Living Planet 92 French Tech Grande Provence, Bucharest Espoo / Helsinki Art + Tech for Urban Resilience 36 H3 Studio, H3 Before Detach 54 Aalto University, Uncertain Practices 73 London National University for Theatre and Film IL Aalto University, Chronicles of an Open Cell, CONTAIN: Mobile COVID19 Bangkok Caragiale Bucharest, UNATC Distant Art 55 Art and Science Collaboration 74 Emergency Testing Facilities 93 Tentacles Gallery, Freaklab Thailand, Jennifer Äänen Lumo, Aalto University, quietSpeakers, Buenos Aires Media and Arts Technology Centre for Doctoral Katanyoutanant, Psych Garden: Spanning remote/displaced 75 Training, Queen Mary University of London, Metaphysical Geographies 37 Museo de la Universidad Nacional de Tres de Febrero — Centro de Arte y Ciencia Galway The Garden of Forking Paths 94 Barcelona Universidad Nacional de Tres de Febrero, Aerial/Sparks and Galway 2020 European Capital of The Bartlett School of Architecture, Hangar, NewArtFoundation, .BEEP { collection;}, The Garden of Curiosity 56 Culture, Aerial/Sparks :: Reports on waves 76 University College London, UOC — ISEA Barcelona, Institut Ramon Llull, OFFF LatBioLab Latinamerican Bioart Lab, The London Garden of Heterotopias 95 Barcelona”, Uncertainty and Ecology 38 UAI Universidad Abierta Interamericana, Gdańsk Digital Anthropology Lab, London College “Espronceda — Institute of Art & Culture, MIRA The Nature of our Nature 57 ŁAŹNIA Contemporary Art Centre, of Fashion, University of the Arts, Festival, Institut Ramon Llull, Helsinki XR Center, ./ Sensory Orders 77 Draping Interfaces 96 Cairo MA Interaction Design Communication at the London Studio Institute for Experimental Architecture, MEET Gijón Cairotronica, WE ARE DATA 58 College of Communication, University of the Arts Digital Culture Center, UCA, Laboral Centro de Arte y Creación Industrial, London, Transformation & Transmission 97 Solar Orchard Garden 39 Cambridge Future Life 78 Sónar+D, Future Perspectives Space Exploration Initiative, MIT Media Lab, Long Beach Granada of Music Technology 40 Space Has Arrived 59 Behnaz Farahi, Returning the Gaze 98 Tangible Media Group | MIT Media Lab, Parque de las Ciencias, Pendulum Garden 79 Basel Los Angeles Presence of Absence 60 Grenoble HeK (House of Electronic Arts Basel), UCLA ArtSci Center, Telluric Vibrations 99 Real Feelings. Emotion and Technology 42 Campinas Komplex KapharnaüM in residency at Hexagone / Atelier Arts Sciences, Energy Autonomy — Lviv Bavaria University of Campinas (UNICAMP), #MemóriasCOVID19 Brazil 61 Renewable Energy — Mobility 80 Center for Urban History of East-Central XR HUB Bavaria, University of Applied Sciences Europe, Future from the past: imaginations Helsingør Augsburg, TUM Munich, LMU Munich, Cape Horn Island on the margins 100 SENSING EXTENDED REALITIES Gardens 43 Terra Australis Ignota Research Group with The Culture Yard, CLICK Garden 81 Melbourne Santiago Museum of Contemporary Art (MAC), Hong Kong Belgrade Experimenta, The Experimenta Garden 101 Achæoscillator_Towards Incorporeal School of Creative Media, City University of Center for the Promotion of Science — Melbourne School of Design (MSD), The University Forms of Sensing, Listening and Gaze 62 Hong Kong, City in Fusion 82 CPN, art+science lab 44 of Melbourne, Past and Future Utopia 102 Castelo Rodrigo Jakarta Studio Matthew Gardiner, Beside the Nibelungen Open Science Hub — Portugal, Municipality of Media Art Globale (MAG) by Connected bridge & Oribokit: Gardening for Robots 103 Figueira de Castelo Rodrigo, The Night Sky 63 Art Platform (CAP), PRISMA GARDEN 83 Milan Seoul Utrecht Ars Electronica Journeys 172 MEET Digital Culture Center, Korea National University of Arts, IMPAKT, Gardens of Darkness, Gardens of Light 145 Hybridizing life experiences 104 Garden of Third Life 126 HKU University Of The Arts Utrecht, AI Lab Journeys 172 New Connections 146 Montreal Silicon Valley Mimi Onuoha 172 PHIE, mergence & Convergence 105 The Grid, Gray Area, Codame, ZERO1, MUTEK.SF, Valparaíso ISEA2020, Why Sentience? 106 EUNIC Silicon Valley, EUNIC Washington DC, CIA-UV University of Valparaíso Artistic Research Maja Smrekar: !brute_force 173 EUNIC New York, Ars Electronica AIxMusic Festival, Center, Valparaíso Brushwood Garden 147 Moscow STARTS, European Commission, Center for Humane Mika Satomi: Artificial Intelligence and its False Lies 173 HSE ART AND DESIGN SCHOOL, Vienna Technology, Salesforce, The Grid: Exposure — Nye Thompson 173 HSE Garden Pavilion 107 Art + Tech + Policy Days 127 Austria in Space, Austria in Space Garden 148 Helena Nikonole, Olga Vad, Rocío Berenguer 173 Datasets vs Mindsets 108 Slovenia Vilnius Kersnikova Institute [Kapelica Gallery + Rampa + Instituto Media, LTMKS / Letmekoo (Lithuanian Cecilie Waagner Falkenstrøm: Centaur 174 Nantes BioTehna + Vivarium], Projekt Atol Institute, Ljudmila Interdisciplinary Artists’ Association), Ūmėdė / MENE, Sarah Petkus: What Matters Now? 174 le lieu unique, The Woman-Machine 109 Society, Aksioma Institute, Cona Institute, University of VDA PhAMA (Department of Photography and Media Art at Vilnius Academy of Arts), Nova Gorica — School of Arts, Youth Cultural Centre Špela Petrič: In the eyes of the algorithm, Newcastle from groves to grooves at SODAS2123 149 University of Newcastle, FASTLab, Maribor, Youth Centre Velenje, LokalPatriot Novo we are all already plants. 174 Art Thinking Australia, mesto, konS Garden for Contemporary Warsaw Tega Brain, Sam Lavigne: At the Abandoned Novocastrian 2050: Ecosystem Reboot. 110 Investigative Art and Tactical Media 128 Adam Mickiewicz Institute, Folded Maps of Time 150 IBM Complex, Endicott NY 175 Nicosia St. Petersburg Wrocław Theun Karelse, Ian Ingram 175 RISE ITICA, WADS (↑ ← → ↓) 111 KURFUTURELAB, Pangardenia 130 WRO Art Center, Point Nemo Garden 151 slow immediate: The Wandering Mind 175 Oslofjord St. Stefan ob Stainz Yamaguchi Art in Society Research Group and FeLT project, Oslo Stieglerhaus, Augenschein 131 Yamaguchi Center for Arts and Media [YCAM], Metropolitan University, SENT, Oslofjord Ecologies Stavanger / Ås YCAM Garden of Threads 152 EMAP Residency Journeys 176 Blue Field Trip 112 NOBA — Norwegian Bioart Arena, Path Less Trodden 132 Daniel Hengst: blooming loves 176 Paris Stockholm Ars Electronica Gallery Spaces Garden 154 Google Arts & Culture Lab, KTH Royal Institute of Technology, Kasia Molga: How to make an Ocean? 176 Heartbeat of the Earth 113 KTH AIxMusic Garden 133 Leonardo/Olats, Quo Artis, Cultivamos Cultura, .art Domains, Ars Electronica Linz, Forms of Ownership: Viral Fiction 177 Ars Electronica .ART Gallery 156 The Traveling Plant Garden 114 Sydney María Castellanos, Alberto Valverde: IRCAM Institute for Research and Coordination in Tactical Space Lab, Fertile Methodologies 134 Deutsche Telekom AG, Keeping the Balance 157 Beyond Human Perception 177 Acoustics/Music, Challenging the limits of Taipei AI for the next generation of co-creative tools 115 bitforms gallery, Claudia Hart’s The Ruins 158 Stefan Laxness: Identity and Aesthetics in an Virtual and Physical Media Integration Rewilded Europe 177 Paros Association of Taiwan, Kaleidoscope of Taiwan 135 CADAF (The Contemporary and Digital Art Fair), MADE Group, Random Rhetoric 116 Artificial Seascapes 159 Tallinn STARTS Journeys 178 Plymouth Estonian Academy of Arts, Decoding New Carl & Marilynn Thoma Art Foundation, Interdisciplinary Centre for Computer Music Research Technologies in Art and Design 136 Thoma Foundation’s pioneering Digital & BeAnotherLab: Between 178 (ICCMR),University of Plymouth, Eduardo Reck Electronic Art collection 160 Miranda, Biocomputer Rhythms 117 Tequila Charlotte Jarvis: On the Eve of Uncertainty 178 Mad Machina, Tech-ila ARTesano Coolture 137 Daata, Daata presents Eva Papamargariti 161 Porto Giulia Tomasello: Alma — On The Way 179 FNDMT, Welcome to the City of Makers 118 Thessaloniki LAST/RESORT, Emilie Trice & LAST/RESORT Centre for Research and Technology Hellas present Garden del Rio Grande 162 Karen Palmer: The Future Crashes into the Present 179 Potsdam (CERTH), Maastricht University, MindSpaces 138 M Eifler: Prosthetic Memory 179 Filmuniversity Babelsberg, IFAI — Institute for Art and Galeri ODUMIJE, Kennii Ekundayo, Tokyo Innovation, Transmedia Storytelling 119 Pandemic-Pandemonium! 163 Morphing Matter Lab: Morphing Matter is ? 180 Japan Media Arts Festival, Agency for Cultural Prague Affairs, Government of Japan, Tokyo Garden 139 Galerie Charlot, 10 Year Anniversary Exhibition 164 Pei-Ying Lin: Communication with the Invisible 180 UMPRUM, Academy of Arts, Architecture and Austrian Cultural Forum Tokyo, KÖNIG GALERIE, better off online 165 Design in Prague, SYNTHESIZING / DISTANCING 120 #JapanRevisited202x Garden 140 Robertina Šebjanič, Gjino Šutić: Adriatic Garden 181 LIUSA WANG, Liusa Wang presents aaajiao 166 Riga / Karlsruhe Toulouse Eebo: Eebo Video Tutorial 181 RIXC Center for Art and Science, Cité de l’espace, Space Garden 141 MAM Mario Mauroner Contemporary Art Vienna, Prof. Diethard Mattanovich, Prof. Ingeborg Reichle, Virtual BioSensing Project Group at Markus Hofer Visuelle Hypothese — Anna Dumitriu, Alex May, Sonja Schachinger, BioDesign Lab HfG, PLA(N)Tform 121 Trbovlje An Exhibition @AAA Project Space 167 RUK — Network of Art and Cultural Research Wolfgang Giegler, Michael Sauer, Günter Seyfried: San Sebastián Centers, Delavski dom Trbovlje, Kibla, Pina, PSM Gallery, PSM presents Catherine Biocca 168 Fermenting Futures 182 Tabakalera, Tabakalera presents Art and Science 122 En-Knap, The Slovenian Elevator 142 sound:frame / Eva Fischer, Marijn Bril, Angie Pohl, Ai Hasegawa: A Journey into Ai Hasegawa’s Practice 182 Santiago de Chile Tsing Hua sound:frame virtual — Area for Virtual Art 169 Barnaby Steel, Marshmallow Laser Feast (MLF) / PRISMA: Art, Science, Technology, National Tsing Hua University, Tsing Hua Garden 143 The Wrong, The Wrong TV (online) 170 Matthias Günther, Fraunhofer Institute for Digital SPACE / EARTH / WATER TRIAD 123 Medicine MEVIS (Fraunhofer MEVIS): Museo del Hongo, A Fungus Garden 124 UK University for the Creative Arts, York Mediale, VENT gallery, Rebecca Merlic — The City as a House 171 The Tides within Us 183 São Luís FutureEverything, University of Wolverhampton, Cultivamos Cultura, Acquired Immunity Art in Flux, NEoN Digital Arts Festival, @Cultivamos Cultura 125 Garden of Earthly Delights 144 Raumperspektive.com; Institut for Computational KEPLER΄S GARDEN Perception, Johannes Kepler University Linz; CONFERENCES, LECTURES, EUROPEAN PLATFORM FOR Cross-Disciplinary Strategies, University of Applied Arts Vienna, Cross Perception 204 WORKSHOPS DIGITAL HUMANISM Gerfried Stocker POST-POSTCITY: Ars Electronica at JKU 186 “Department of Digital Arts, University of Applied Arts Vienna; Institute of Technical Mechanics, Johannes Conferences 230 A Platform for AI Ethics, Fairness and Trust 263 Gerald Bast (University of Applied Arts), Kepler University Linz, site-inflexion 205 Meinhard Lukas (Johannes Kepler University) Workshops 240 A Platform for Experimentation 265 Manifesto Innovation through Universitas. 188 Art Thinking Program 242 A Platform for Open Access 266 Garden Exhibition 206 A Platform for Collaborative Practices 268

JKU LIT @ Ars Electronica 190 Mathieu Zurstrassen, god is dog spelled backwards 206 A Platform for Next Generation Media and Personalized Content 271 Christopher Lindinger, Gerald Bast, Mathieu Zurstrassen, Above The Below _ /bə’lo / 207 Creative Cohesion 190 A Platform for Human-Centered Innovation 272 Mathieu Zurstrassen, Elsa on the Moon 207 AIxMUSIC Linz School of Education, STEAM Popup Lab 193 MORITZ SIMON GEIST, TOC ONE 276 Sebastian Wolf, lovesmenot 208 Yuri Suzuki, Andreas Stelzer, Rudolf Scheidl, Magic Darts 193 The Welcome Chorus 246 Youyang Song, Apeel 276 Simone Barlian, Jan Phillip Ley, Theresa Muhl, Kerstin Kerstin Ergenzinger, Pluvial 246 Institute of Robotics, Johannes Kepler Reyer, Sophie Netzer, Lena Bammer, Tobias Saatze, A Platform for Education 277 University Linz, Robots in Action 194 Lochtopia feat. SISI 208 Alex Braga, SPLEEN MACHINE 247 A Platform for Promoting Cross-Sector Judith Igelsböck, Friedrich Kirschner, Sarah Buser, Christina Gruber, Zugzwang 209 Artemi-Maria Gioti, Szilárd Benes, Bias, for bass Innovation across Europe 282 Mónica Rikić, Leoni Voegelin, Tomás Montes Massa, clarinet and Interactive Music System 248 Laura Zoelzer, Enacting Innovation 194 Domas Schwarz, Derotation 209 ESERO Austria, Ars Electronica, Best of ESERO 283 Wobbly, Jennifer Walshe, MOREOVER 248 LIT Robopsychology Lab, Johannes Kepler University Sunjoo Lee, Ko de Beer, Machine in Flux — Wood 210 Camel Zekri, Marc Chemillier, Gnawa Machine 249 Linz, Robots Talking to Me 195 Felix Lenz, Political Atmosphere 210 hexorcismus AKA Moisés Horta Valenzuela, LIT Law Lab, Johannes Kepler University Linz, Jip van Leeuwenstein, A Diverse Monoculture 211 AI Truth Machine 196 Neltokoni in cuícatl 249 Marlene Reischl, Still There 211 ARS ELECTRONICA LIT Law Lab, Johannes Kepler University Linz, Yishu Jiang, Ali Nikrang, Daniela Mülleder Digital Government in a Box 196 Lukas Truniger, Itamar Bergfreund, Bruce Yoder, Running Off the Senses 250 ANIMATION FESTIVAL 2020 Ethereal Fleeting 212 Mathias Gartner, Vera Tolazzi, Ali Nikrang, Martin Honzik, Somnium 250 Expanded Animation 2020 290 The Transparency of Randomness 197 Jef Montes, Marinero 212 Ali Nikrang, How Machines See Music 251 Leon Kainz, dancing water 197 Yinan Liu, Jermaine Leef, Uwe Rieger, Holly White, Ali Nikrang, Ricercar: An AI-based Music Companion 251 292 Kōrero Paki (Our stories of the legends) 213 Deep Space 8K Johann Höller, Thomas Lorenz, Florian Gruber, Ursula Niederländer, Tanja Illetits-Motta, Raphael Yasuaki Kakehi, Daisuke Akatsuka, Juri Fujii, Lee Jung In, Mihaela Kavdanska, Violeta Ivanova, Blasi, Andreas Rösch, Stefan Küll, Yoshimori Yoshikawa, Joung Min Han, Air on Air 213 Florian Weinrich, DARV_ Abandoned Land 293 Treeversity 198 THE BIG CONCERT NIGHT 2020 252 Michael Roland, Michael Mayr, Robert Holzinger, Immersify, The Translucent St. Stephen’s Cathedral 294 Markus Vogl, Exposed Building 198 Christina Kubisch, Katharina Ernst, DOUBLÉ plays Interference 254 Magister Art, Magister Raffaello 2020 294 Institute for Machine Learning, LIT AI Lab, LIT Students of the of the University of Art and Robopsychology Lab, Johannes Kepler University; STARTS Exhibition 214 Design Linz, Cooperative Aesthetics 295 Inseq Design, K — JKU’s Interactive Robocar 198 255 Concerts & Performances Julien Lomet, Bastien Daniel, Timothée Durgeaud, Melanie Baumgartner, Florian Hartmann, David Johan Julien, Pierre Huyghe, Ronan Gaugne, Preninger, The Elephant in the Room 199 Tobias Euler, Thies Mynther, Veit Sprenger, create your world 2020 216 Valérie Gouranton, Joël Laurent, Bruno Bossis, Moon Machine Field Trip 255 Thomas Faseth, Harald Pretl, Christoph Guger, Anouk Creative Harmony 295 Wipprecht, The Pangolin Scales 200 Prix Ars Electronica The Telharmonic Orchestra feat. Stefan Traxler, Geophysics, drones, laser scans… u19–create your world Exhibition 218 Richard Garet & Daniel Neumann, g.tec neurotechnology GmbH, BR41N.IO Hackathon 201 tracking the ancient Romans with high tech 296 Conferences @ create your world 222 Acts of Substitution without Bodily Contact 256 Maki Namekawa, Cori O’Lan, Pianographique 296 IFG-LIT, How to Become a High-Tech Corona Improv Sessions 256 Anti-Discrimination Activist Collective 201 Till-Holger Borchert, Jan van Eyck was here, Maki Namekawa, Dennis Russell Davies, there and is now everywhere … 297 Martin Kusch, Director | Fulldome / VR & AR Lab, Ruth Cori OʼLan, Pianographique 257 Schnell, Head Department of Digital Arts, University of Carolina Bischof, Andreas Dorner, Lena Kalleitner, Applied Arts Vienna, Fulldome / VR & AR Lab 202 Adam Lamine, Thomas Tippold, Matthias Husinsky, Department of Digital Arts, University of Applied Arts Clemens Scharfen, Vienna, Fulldome Program: Future Room and Liminal Mirage — An Interactive Experience 297 Spaces (re-edited) 360˚ film screening 203 Symposium UNCANNY FRIENDS 318 CoBot Studio 391 KUNSTUNIVERSITÄT LINZ ARS ELECTRONICA Evening Lecture with Lynn Hershman Leeson 319 PSNC — Poznan Supercomputing and Networking Center, Spin Digital Video Technologies GmbH, Marché CAMPUS INTERFACING HAUPTPLATZ 319 Ars Electronica Center 346 du Film — Festival de Cannes, Visualization Center C, THE WILD STATE 300 DEPART, The Transient Shadows (2020) 320 Ars Electronica Futurelab, Immersify 392 Current Exhibitions 349 THE WILD STATE: Networked 303 Laurent Mignonneau, Christa Sommerer, NHK (Japan Broadcasting Corporation), Antopolis (2020) 320 Ars Electronica Home Delivery 358 Ars Electronica Futurelab, Cascade 393 Interface Cultures, University of Art and Design Linz, STATE OF INTIMACY 304 SOUND CAMPUS 321 ZERO1, American Arts Incubator — Austria 366 Stephan Feichter, Social Telepresence 394 Juan Pablo Linares Ceballos, All at Once 305 Sound Campus Nightline 322 Ars Electronica, Ars Electronica Archive — Peter Holzkorn, Tele-mobility 394 Networked Archives 368 Various artists, COCO-lands 305 Metaverse: Interactive Music Programme 323 Kyoko Kunoh, Collective physical Ars Electronica, Ars Electronica Archive — experiences at remote locations 395 Thu Trang Eva Ha, WWWORLDGARDEN 306 Metaverse: Metaversal Multichannel Works 323 Digital Art Histories 369 Ars Electronica Research Institutes 396 Jaskaran Anand, Stefan Fuchs, In-between Privacy 306 Metaverse: Acoustic Realities meet the Metaverse 324 Ars Electronica Research Institute Knowledge for Afra Sönmez, Nursinem Aslan, ONISMA 307 Metaverse: BFA & MFA students from Trondheim Ars Electronica Futurelab 370 Humanity, Garden of … Knowledge for Humanity 396 Academy of Fine Art (KiT), NTNU, Norwegian Vanessa V, Andrea Macchia, Vincenzo Guarnieri, University of Science and Technology 324 Birgit Cakir, Sanja Bajakić, Horst Hörtner, Roland Werner Jauk, What is music to … The transparency Photosynthetic Me 307 Haring and Hideaki Ogawa, Envisioning the Future 371 of envelopes of the body, its private / social / Department of Artistic Education / Bildnerische Indiara Di Benedetto, public spaces — garments and gardens: auditory Erziehung, Meter machen 325 Ars Electronica Japan: TOKYO MIDTOWN 374 Portrait of a Generative Memory 308 spaces as emotional interfaces zones to an auditory culture of humanity 398 Ars Electronica Futurelab Ideas Expedition 375 Mario Romera, Proof of Consensus 308 Hana Zeqa, Laura Thaçi, Elisabeth Mirnig, Werner Jauk, Ali Nikrang, Ricercar: An AI-based Bálint Budai, What’s Next 308 sounding garments & sound-gardens 409 Music Companion 376 S()fia Braga, SSID: tag me 309 Nicolas Naveau, Johannes Pöll, Peter Freudling, Nomi Sasaki, Track-track: Let’s Follow the Cat! 309 Deepandemia / DeepChanges 377 Ars Electronica Solutions 414 GUEST PROJECTS Amir Youseff, Floating Spaces 309 Daniel Rammer, Spotless 378 Centro de Ciencias in Culiacán, AGORA DIGITALIS 310 Ars Electronica Futurelab Key Research Topics 379 SinaloaCUBO NEGRO 418 Stadtwerkstatt, STWST48x6 MORE LESS 328 Leonardo/ISAST — Education Arena 311 Hideaki Ogawa, Art Thinking 379 AUSTRIA@EXPO DUBAI, The Austrian Pavilion 420 Franz Xaver — Infolab, The Third Nature 329 S()fia Braga, IDPW, The Internet Yami-Ichi 311 Roland Haring, Co-Immersive Spaces 380 AUSTRIAN STANDARDS, celebrates 100 years Franz Xaver — Infolab, El’Hail satellite 329 anniversary 422 CRAFTING FUTURES 312 Ali Nikrang, Creative Intelligence 381 A STWST project initiated by Shu Lea Cheang, Samurai Art Museum 424 Lisa Benedikt, 3D Printed Cross Stitch 312 MAKE BREAD. EAT PICKLE. 330 Peter Holzkorn, Artificial Collectives 382 Humboldt Forum 424 Lisa Benedikt, Shining Tradition 312 Tanja Brandmayr — Quasikunst, Otto Naderer, Algorithmic Apperception 383 My Brain Freezes at Minus 273 Degrees 331 Lagermax 424 Alexander Grabner, Φως [fos] 313 Kyoko Kunoh, Digital Resonance 383 Stadtwerkstatt / OrtnerSchinko, The New Gibling 332 Global Shift 425 FASER-FADEN-FIKTION 313 Matthew Gardiner, Rachel Hanlon, Origami Robotics 384 Stadtwerkstatt, STWST Excursions 333 Rosenauer 425 Robert Angerer, The Sound of Tea 313 Stefan Mittlböck-Jungwirth-Fohringer, Die geile Hydra & Raumteiler Kulturverein, Poetic Systems 385 Theater der Welt 425 Michaela Haager, SichtLicht 314 Holy Hydra 3.0 334 Ars Electronica Futurelab Projects 386 Sofie Lüftinger, Joystick 314 Christa Sommerer, Laurent Mignonneau, Ars Electronica Export 426 hosted by ARS ELECTRONICA 335 Rotax, Polycular OG, Ars Electronica Futurelab, Yara Bartel, Hey Sirius 314 Rotax MAX Dome Enhancements 386 BIO AUSTRIA, BIO AUSTRIA Farmers’ Market 336 Deutsches Hygienemuseum Dresden 428 Lisa Hametner, Illuminated Paper Wave 315 NTT — Nippon Telegraph and Telephone Corporation OÖ Landes-Kultur GmbHOK Night 2020, Tabakalera in San Sebastian 428 Tamara Lang, hortus scholae/hortus artium 315 R&D Service Evolution Labs, Ars Electronica Futurelab, OÖ Kulturquartier 337 Swarm Arena / Fluxels 387 Esch2022 — European Capital of Culture 429 Various artists, Märchen, Mythen, Materie 315 Sparkasse OÖ and LINZ AG, Sounding Linz — Johannes Kepler University, Siemens Healthcare, ArtScience Residency Program enabled KLANGWOLKE 2020 337 Latency Now, Telematic Improv Workshop 316 Ars Electronica Futurelab, by Deutsche Telekom 429 Virtual Anatomy at the JKU Linz 388 Crossing Europe, VALIE EXPORT Center Fashion & Technology presents IN THE LAB – Residency program enabled by Ministry Feminism and Media Avant-Garde. 338 Liquid Objects, Disobedient Materials 317 Hakuhodo Inc., Ars Electronica Futurelab, of Culture, Kingdom of Saudi Arabia 429 Art Thinking Program 389 Melanie Nutz, MATERIAL MATTERS 317 Matsudo International Science and Art Festival, Open Futurelab 390 Aaron Alvin Keller, IN_BETWEEN_SPACES 317 Citizens of the Future 430 Launch of collaborative research between Wacom TOKYO MIDTOWN: School of the Future Festival 431 Tania Pérez-Hernandez, INVERT 318 and Ars Electronica Futurelab Wacom Co. Ltd., Ars Electronica Futurelab, Future Ink Project 390 In Kepler’s Formats and Programs at the 2020 Festival Gardens The main mission of Ars Electronica has always Within the local-physical and globally networked been to make media-art and science accessible to framework of the festival there are, of course, A global journey mapping the ‘new’ world a wide audience. The efforts to achieve this goal our well-known formats which, for the most part, Gerfried Stocker (AT) can be traced throughout its history, up to its very deeply intertwine both domains. This year, the beginning; not only in the variety of its formats, well-established Ars Electronica Animation which have been consistently expanded or repur- Festival offers — among other things — screenings Hardly any other phrase has been so used in festival site. It is also the metaphor for Ars posed through the years, but in its ever-growing at selected locations in Linz, as well as high-qual- recent months as that the world will be a different Electronica’s organizational principle during global network of partners in the scientific and ity online content focused on the people behind place after this crisis: sometimes with a glimmer global lockdown; as a festival that will not be con- artistic communities, who have borne witness the Top 15 projects of 2020 Prix Ars Electronica of hope, more often as a threat. Is this true and, tent to dive into the network and disappear there, to the endeavor, and in consistently focusing on in the category of Computer Animation. Over the if so, what are the changes ahead? This question but that aims to reemerge from it and manifest events and programs that encourage public par- years, Gallery Spaces has sparked great interest, is the focus of this year’s Ars Electronica. itself in many places all around the world. Start- ticipation. with up-to-date discussions on core issues like Following last year’s brilliant 40-year anniversary ing in Linz and working with partners from Ars In light of Ars Electronica’s ambitions to inspire the preservation of media-art. This time, it will be festival, which brought more artists, exhibitors Electronica’s vast and storied international net- creative collaboration on many levels, this year’s held entirely online, with international galleries and international experts to Linz than ever before, work, “real” events, headed by “real” artists and festival marks the next step in its evolution by presenting their current exhibitions on the web this year Ars Electronica will undertake a journey scientists for “real” audiences, will be networked fusing the physical and digital realms into a alongside artist talks around assorted topics. The or, indeed, become one — a journey through into a global festival from September 9 to 13. hybrid event. Besides Kepler’s Garden at JKU Big Concert Night, traditionally one of the fes- Kepler’s Gardens. Travel through the networked Given this simultaneity in local-physical and Linz, the festival first and foremost features tivals’ main attractions, will be held at the JKU biotopes and ecosystems in which people all over globally networked events, Ars Electronica will Ars Electronica Partner Gardens in more than campus and streamed on our online channels. the world are working to develop and shape our once again become an exciting experimental lab- 120 cities all over the world, which contribute Fidelio Freedom Project will address questions future, which, these days, means working to save oratory and prototype for a next-level network local activities and online content on the topics of of human dignity and liberty while, for the third it. Take a journey to — and with — many committed primarily focused on new forms and possibilities autonomy, democracy, ecology, humanity, tech- time, Markus Poschner will conduct the Bruck- communities that have already started thinking of fusion and coexistence between analog and nology, uncertainty and reality. From a broader ner Orchestra in conjunction with this format. not just about current problems, but working on digital, real and virtual, physical and telematic vantage, the networked festival reflects the myr- Last year’s first edition of the AIxMusic festival concrete solutions to them. Places, initiatives and proximity. Last but not least, In Kepler’s Gardens iad existing strategies of online interaction, from at St. Florian Monastery was a great success. In institutions become platforms in which scientists also represents a clear commitment to science, live-streaming to participatory virtual environ- Kepler’s Gardens, the program will delve deeper and artists can collaborate, challenge society and and a fact-based, responsible way of dealing ments. More importantly, it also strives to spur into the connections between music and artificial try out new alliances and forms of cooperation. with one another. It is a statement on science novel approaches in the field. After all, intelligent intelligence by highlighting artistic practices in In Kepler’s Gardens is not merely the name of and art as not only fuel for the economy, but as on- and offline solutions for transnational coop- this territory. For the 2020 Campus Program, a Ars Electronica’s new venue, which will move the basis for culture and civilization. This is, and eration and the smart distribution of knowledge further step towards intensifying cooperation with from the POSTCITY to Kepler’s Gardens on the always has been, among the central tasks of art are essential to our complex world, with the latter local institutions, the University of Art and Design well-equipped campus of JKU Linz, ­transforming and culture — one that can only be achieved in being especially urgent given the huge amount of Linz put together an extensive program titled The its beautiful, extensive parks into an extra­ordinary cooperation with science, technology and society. (dis)information on the internet. Wild State, which will be hosted at their facilities.

20 21 In Kepler’s Gardens — A global journey mapping the ‘new’ world

Naturally, enhanced online expansion due to into their ­practices, but also their surroundings, From the POSTCITY to Kepler’s Gardens the pandemic also resulted in new formats. The labs or favorite routes to walk when thinking. Ars Electronica Center, for instance, established With Mozilla Hubs, an open source project by Meinhard Lukas (AT) Ars Electronica Home Delivery to feature essen- Mozilla that allows anybody to create and design tial parts of the museum online as live, and often virtual rooms, we introduce another powerful It was at the old postal distribution center by to serve as the focus of teaching and research. interactive, content on a weekly basis. tool to the online festival that investigates how the Main Rail Station where the magicians of Ars But the initially skeptical federal policy-makers Ars Electronica Journeys is another new con- communication in mixed reality can come to life. Electronica transformed an analog yesterday into and the pioneers of the university have turned it cept designed to provide interactive guided This year, more than 60 Mozilla Hubs with a mul- a digital tomorrow. At no other place and at no into something much more. tours that do not require the audience’s physical titude of content were created by Ars Electronica other time has Linz been more urban and cosmo- Things were possible at Linz University in the presence. In these explorations, artists and and its partner gardens worldwide. politan than at the POSTCITY. Here, out-of-the- 1960s that were unthinkable at that time at scientists will not only share exclusive insights box thinking, reflecting, and creating took place. Austria’s older, time-honored universities. The It was a virtually perfect venue for spending five left-wing historian Karl Stadler was appointed by years exploring and wedding the monumental the school as the first scholar in the country to themes of technology, art, and society. It was conduct no-holds-barred research into Austria’s Symposia, Workshops, Tutorials a vibrant magnet that attracted people from all role before and during the time of National Social- This year, the conferences, lectures and work- An already familiar format, STARTS Day, will offer around the globe and provided the impetus for ism. The Jewish economist Kurt Rothschild, who shops program will be largely featured on our online lectures, panels and networking sessions visionary thoughts by luminaries from the worlds had to flee Austria after its annexation into Hit- online channels. On Saturday, Renata Schmidt- on the potential of evolving future innovators, as of science and art. ler’s Nazi Germany, and who in his writings dealt kunz and Walter Ötsch will curate and moderate well as a pre-recorded tour. Other fixed points The POSTCITY created by Ars is a symbol of the extensively with unemployment and equita- a couple of panels with high-profile guests. The include the Prix Forum, where prizewinning enormous innovative power of our provincial cap- ble income distribution, was one of the found- Night Keynotes are cast with renowned speakers artists elaborate on their work, and this year’s ital. The way this location was dealt with in the ing fathers of the university as a professor for Neri Oxman, Lynn Hershman Leeson and Joanna Expanded Animation Symposium, Appeal of the long term, however, also stands for the lack of economics there. Another was a former official Bryson. The Art Thinking Forum is a new plat- Analog. Last but not least, the Home Delivery courage of one’s convictions, a not uncommon at Linz’s Chamber of Labor (Arbeiterkammer), form to discuss the future role of art with regard Conference focuses on the status quo and future problem in this country. There is something ironic Rudolf Strasser, who as a professor in Linz not to cutting-edge projects in the field. of online cultural content. about the fact that the name POSTCITY outlived only became a pioneer in Austrian labor relations the so exhilarating and successful festival loca- law but also founded a Linz school of civil law that tion in order to now serve as the name of a very is still influential today. “Linzian” real-estate project at this site. But that Within only a few years, the university developed Garden Exhibitions at JKU Campus is another story. into a breeding ground for a formidable avant- Now, the festival is venturing a leap across the garde, be it in the fields of marketing, computer This year, what was hitherto understood as indeed smaller, though focused more intensely on Danube. Not simply to where its own Center is sciences, information management, or later in theme exhibitions at the festival site will take mediation, guided tours and proximity to the local located on the river, but rather to the northern mechatronics, legal gender studies, and envi- place entirely online and be rooted in the man- audience. Of course, a lot of the program parts at edge of the city, to where the foothills of the gen- ronmental law. And still today, the university is a ifold contributions by Ars Electronica Partner the JKU campus will be accessible through our tly rolling Mühlviertel region begin. This is where groundbreaking institution with regard to its role Gardens around the world. Our home base in online channels as well. As for the projects pre- the campus of Linz University was established and its influence in the area of artificial intelli- this networked festival is Kepler’s Garden at JKU sented within the Garden exhibitions at JKU, the over fifty years ago — a university that the city and gence and physical intelligence. Linz. After five brilliant years at the POSTCITY, it idea is to further promote the interplay between the province founded against initial bitter resis- The university now employs some 3,500 people is refreshing and exciting to discover the poten- arts, research and industry/design, as represented tance from Vienna. It was opened in 1966 as a and teaches about 20,000 students in four facul- tial of our new location. Nevertheless, in light of by a group of selected artworks that pick up and university for social and economic sciences, with ties (Engineering and Natural Sciences, Business the COVID-19 pandemic and the precautionary play with the garden metaphor, the JKU LIT @ Ars the social dimension of business and economics and Social Studies, Law, and Medicine). steps it is demanding, this year presented the Electronica projects — in which JKU presents an additional challenge of developing a fitting local array of their latest research — and the STARTS exhi- concept. In contrast to our previous, extensive bition, which shows fascinating and prizewinning festivals, the on-site program at JKU for 2020 is projects in the fields of creativity and innovation.

22 23 In Kepler’s Gardens — A global journey mapping the ‘new’ world

It is above all the research conducted at the inter- it is not (only) a specific vision, which in isolation In this regard, I reiterate my call for a self-­ But above all, the gardens should invite one to sections and in the intermediate areas between all too frequently becomes tunnel vision, that reflection on the part of today’s scientists: while dream, to imagine small and great utopias, and to the faculties and subjects that has always made characterizes the two institutions, but rather an in Kepler’s day it was above all dogmas of the simply wish — just as the fantastic writer Valerie up the university’s DNA. This also applies to the interdisciplinary approach. church that placed limits on groundbreaking Fritsch described in the text she wrote especially Faculty of Medicine, opened only in 2014, whose The idea of the Keplerian gardens is, of course, insights, today, I am afraid, it is academic rituals for our “Long Night of Utopia”: “It is commonly specialized research areas include medical engi- only ostensibly related to the name of our uni- and pecking orders that at least here and there said about a person’s life that it contains two fate- neering and health services. versity. And the reference to our university’s could represent a stumbling block for earthshak- ful moments: the moment in which the greatest The Linz Institute of Technology (LIT), founded campus, with its fantastic green spaces, has only ing discoveries. yearning is fulfilled, and the one in which it is con- in 2015, is committed to a forward-looking, a superficial significance, as impressive as the Moreover, there is and always has been an incred- clusively not. Nothing impels us more than even interdisciplinary conception of technology. It is centuries-old stand of trees may be. In essence, ible contrariness prevalent that makes life diffi- the smallest of wishes that we find in a corner of not only the collaboration between the natural it naturally has to do with conceptual gardens cult for geniuses of Kepler’s rank. As Kepler wrote our being. In the tabernacle of our chest, we all sciences and engineering but also the societal, that can manifest themselves at any analog or himself regarding his character: “Within me there carry the hope, the desire for the beautiful. If you health-related, economic, and legal dimensions even virtual spot in the world. In this sense, the is a vehemence, an intolerance toward irksome wish, you are alive, in the middle of the universe; of technology that constitute the core of the LIT. Kepler’s Gardens as conceived by Ars Electronica people, a shameless delight in mocking them as you view the world as a world that is evolving, one The new LIT Open Innovation Center with a mod- in Linz are the epicenter of a world-spanning, lush well as jesting, and finally an unapologetic procliv- in which everything can become anything. There ern cleanroom and the LIT Factory are the home garden landscape that can blossom in even the ity for criticizing people, as I do not leave anyone is a power in wishing, a meaningful, boisterous, base for an institute of scientific diversity, one most barren steppes. unchallenged.” impetuous delight. It is a resistance against the that stands first and foremost for responsible Nonetheless: anyone who strives to conceive of One of Kepler’s most outstanding traits, inciden- cast-in-stone, against the probable, the unavoid- technology and — like the JKU in general — for and create Kepler’s Gardens should reflect at tally, has much to do with the aims of Ars Elec- able; it is a revolution of the heart against the the highest quality standards in teaching and least briefly on his unparalleled life and cata- tronica: Kepler thought and researched in an inte- gravity of reality.” May Kepler’s Gardens also research. In this way, the LIT allocated its funds clysmic work; in short, on his genius. His work grated, “all of a piece” manner, as Thomas Posch become spaces of archaic wishing. through university-internal calls conducted in a in Linz alone renders one speechless. It was on so aptly described it in his biography. His thought The festival’s move from the POSTCITY to the strictly competitive process and with the over- May 15, 1618, at a building with the address Hof- processes were able to unite a world view with campus is in itself an experiment. Corona made it sight of the Austrian Science Fund (FWF). gasse 7 in Linz, that Johannes Kepler discovered knowledge, and a poetic approach to the world a daring venture that placed enormous demands The name of our university’s genius loci, Johannes the relationship between the size of a planet’s with a mathematical one, in a completely natu- on all those involved. Kepler, was not adopted until nine years after its orbit and the length of its orbital period around ral manner. His Harmonices Mundi, in which he The alternative would have been a capitulation founding. the sun, now referred to as Kepler’s third law. As published his third law of planetary motion, is in to the virus — at a very time in which technology This, of course, had a great deal to do with the groundbreaking as this insight was, it remained a sense the culmination of Kepler’s all-embrac- has attained a nearly excessive importance, in establishment in 1969 of the Faculty of Engineer- misunderstood and unappreciated throughout his ing research approach. In this respect, Kepler’s which society is wounded and anxious, and art is ing and Natural Sciences, even though his name lifetime. Kepler once again pulverized the state “harmony of the world” is a concept that, in a threatened in its very existence. graces the university in its entirety. This is very of knowledge of his time. It is not by chance that time of the highest degree of specialization and Now, of all times, the situation calls for surveying much in keeping with the Keplerian perspective, no less a figure than Sir Isaac Newton was think- atomization of knowledge, we should hark back the new world. Let us begin the search for the as he even described himself as a polymath. At ing, among others, of Kepler when he uttered his to. Kepler’s Gardens thus also stand for a renais- polymaths of our time. May Kepler’s Gardens be the same time, this also addresses an important famous metaphor: “If I have seen further it is by sance of an integrated research approach. a magnet for this! virtue that links the Ars Electronica and the JKU: standing on the shoulders of Giants.”

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It is an established fact by now that Ars networks and show possibilities for public Electronica’s main objective is to mediate and participation, the idea behind this year’s festival interconnect the realms of art, technology and is to use today’s vast online sphere to manifest society. Besides opening up the dimensions of itself across the globe. We therefore teamed up media-art and science to a wider audience, one of with over 250 partners in more than 120 cities Ars Electronica’s hallmarks has been to encour- to contribute local activities and online content age new forms of collaboration and networking on issues like autonomy, democracy, ecology, among communities on a local and global scale. humanity, technology, uncertainty and reality. Initiatives bearing witness to these efforts can be The simultaneity and duality of local-physical traced throughout its history. In 1982, The World and globally networked events marks the next in 24 Hours connected artists around the world evolutionary step. Ars Electronica will once again in a non-stop series of dialogues using different become an exciting experimental laboratory and telecommunication media to transmit their con- prototype for next-level networking that will tributions. The project creatively challenged the focus primarily on new forms and possibilities idea that modern electronic systems and net- of fusion and coexistence between the analog works were mostly inaccessible to private individ- and digital, the real and virtual, the physical and uals. In 1995, Horizontal Radio was a telematics telematics. radio network project which, for a day, turned 22 Accordingly, this festival will not only reflect the radio stations worldwide into an instrument and multitude of extant strategies of online inter­ tool for artistic creativity; a “virtual stage” based action, from live-streaming to participatory on interaction and telepresence. virtual environments; it will — yet more impor- When confronted with the challenges posed by tantly — develop its own rhizomatic dynamic the coronavirus, it quickly became obvious to within the extensive partner network, to hope- us that our task was to ensure the festival still fully spur many novel collaborative practices. functioned as a community-building platform that After all, intelligent on- and offline solutions for was easily accessible to the public. Whereas the transnational cooperation, as well as for smart goal with projects like The World in 24 Hours and distribution of knowledge, are increasingly essen- Horizontal Radio was to dive into more closed tial to our complex world. ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN ADRIATIC SEA AMSTERDAM

Gjino Šutić, UR Institute (HR), Robertina Šebjanič, PiNA (SI) Waag — Technology & Society (NL) aqua_forensic 2.0 Kepler’s Expedition solidarity and empathy with waters beyond human perception to the Garden of Planet B.

Adriatic Garden | aqua_forensic 2.0 connects Art, science and citizen science coalesce within A Nocturnal Roundtable two places on the Adriatic Sea: Dubrovnik (HR) the framework of Adriatic Garden | aqua_forensic and Koper (SI), giving special attention to our 2.0, opening up a wider discussion on our soli- When humanity’s disruptive power over the Kepler’s Expedition to the Garden of Planet B is organized by: Waag — Technology & Society commitment to the values of care, compassion, darity and empathy with waters beyond human environment was momentarily silenced due to Kepler’s Expedition to the Garden of Planet B is made Covid-19, our understanding of the garden — and environmental justice, action-taking and coop- perception. possible by: AFK — Amsterdam Fund for the Arts eration with the Adriatic Sea and its creatures. of gardening — began to shift. It shifted in shape NWO — Netherlands Science Organization Gjino Šutić (HR), Robertina Šebjanič (SI), UR Institute and in size, due to compartimentalization of Stimuleringsfonds Creative Industrie The project framework is the aqua_forensic, (HR), PiNA (SI), Ars Electronica within the EMAP/EMARE European Commission under the H2020-SC5-20-2019 ongoing art and science research method, devel- project (AT) / In partnership with: IZIS festival (SI), human activity. It shifted in how we as humans call, Grant Agreement number 868887 Youth Center Dubrovnik (HR); Art Workshop Lazareti relate to the gardens themselves and to the com- oped by Robertina Šebjanič (SI) and Gjino Šutić Observing the Macroscopic Gardens (HR); Kontejner / Touch Me festival 2020 (HR); The City (HR), which sheds light on the presence of invis- panion species therein, which we culture and cul- Christiaan Zwanikken (NL), Raoul Frese (NL), of Dubrovnik — Administrative Department for Education, tivate us. Angelo Vermeulen (BE), Remco Daalder (NL) ible anthropogenic (pharmaceutical) chemical Sports, Social Welfare and Civil Society (HR); City Art Observing the Microscopic Gardens pollutants in the water environment. gallery Ljubljana (SI); Projekt Atol Institute (SI); Marko Gardens have a history when it comes to who Saša Spačal (SI), Toby Kiers (NL/US), Esmee Geerken The program Adriatic Garden | aqua_forensic 2.0 Vivoda (SI); Manja Ristić (SB); Computer History Museum they were made for and why: be it for power, for (NL), De Onkruideniers (NL), Spela Petric (SI), Society (SI); Sektor (SI), Miha Godec (SI); Sektor (SI), pleasure, for food or for trash — or for the imagi- at Ars Electronica Festival 2020 focuses on eco- Nicola Triscott (UK) RUK (SI); KONS (SI); PIF camp (Sl) logical and climatic changes/challenges of the nation. In the frame of our current shift in under- Adriatic Sea. A distributed exhibition program standing around gardens and what happens in will be presented in Dubrovnik, Koper, Ljubljana them — in and out of our sight and senses — we and Linz. The citizen science workshops with a bring together artists, scientists and others to global and local audience will focus on the topics present their work and research and show us of water pollution and climate change. The Adri- what we may have overlooked about them, but atic Garden online platform will enable audiences may need to urgently consider. Kepler’s Exhibition to immerse themselves in the underwater world to the Garden of Planet B is a nocturnal program of of the sea by video and listen to the soundscapes live experiments and presentations for a limited under/above water in the sonic wilderness of audience to be held on the site of Waag’s Planet the Adriatic. The sound program is co-curated B location at the Amsterdam Science park and by Robertina Š., Gjino. Š., Manja Ristić (SB) and its fringes, where the site reaches former unused

Marko Vivoda (SI). Šebjanič and Gjino Šutić GARDEN Robertina ADRIATIC farmland with a growing biodiversity. © Florian Geerken Esmee Gerken, a shell, Build like

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ● Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ● Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ○ On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming This Garden is part of the STARTS programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN AMSTERDAM AMSTERDAM

Nxt Museum (NL) Vrije Universiteit Amsterdam (NL) Shifting Proximities Hybrid Forms

The Shifting Proximities garden at Ars Electronica shifting how we relate to each other. In evoking The Hybrid Forms Garden at Ars Electronica computer science with uncanny philosophical hosted by Nxt Musem captures elements of our concepts of proximity, our interconnectivity demonstrates how artists and scientists can work practices. In their twenty years of collaborating inaugural exhibition that explore how human becomes ever more apparent. Within this garden, together in speculative, reflective and proof of with scientific researchers, they have converged experience and interaction in the face of social we look to examine these shifting proximities and principle projects. on topics such as hydrodynamics, the origins of and technological change continually shifts the together create new forms of networked nearness­ The Hybrid Forms Lab at Vrije Universiteit life, and the foundations of scientific inquiry. proximities between us. Perception of space, and amongst the Ars Electronica gardens in this Amsterdam is a horizontal research platform Raoul Frese (NL), Sandrine D’Haene (NL), our place within it, is called into question through unifying moment. where scientists and artists/designers collab- Wende Wallert (NL) the collected collaborations of artists, designers, orate to explore environmental science, auto- technologists, scientists and musicians. Garden Curator: Bogomir Doringer (RS/NL) mation, laser and optics based art, living sys- Nxt Museum is the first museum in the Nether- tems and biophysics. The lab is coordinated by lands dedicated to New Media Art. It is shaped Dr. Raoul Frese with the assistance of Dr. San- to be a fluid future-facing institution that seeks drine D’Haene, and seeks to blur the lines to examine accelerating socio-political, techno- between disciplines and to connect the ­sciences logical and environmental change by questioning and the humanities through art. The garden “what is next”. ­features discussions with recently selected The garden investigates how the tools of new STUDIOTOPIA scientists-in-residence and their technologies both empower and threaten us, collaborating artists Christiaan Zwanikken,

and how those contradictory forces act upon our Dmitry Gelfand and Evelina Domnitch. Christiaan © Cheryl Schurgers Zwanikken, 2015, Christiaan Kinetic Garden, bodies individually and collectively. New tech- Zwanikken has received international recogni- nologies have offered new modes of expression, tion for his kinetic and mechanical sculptures, alongside new avenues of external manipulations, sound works, performative and responsive instal- CGI: Benjamin Muzzin. 3D Scan: Helen Blanken CGI: lations. The substantive basis of his recent work is based on the assumption that human activities causing climate change and the destruction of biodiversity are symptoms of a greater cognitive and phenomenological problem. Dmitry Gelfand and Evelina Domnitch create sensory immersion

environments that merge physics, chemistry and Gelfand & E. Domnitch Field, 2016, D. Force

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ● Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ● Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ○ On-demand content ○ Journey ○ On-demand content ● Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the Art&Science programme. ○ Film/Animation ○ Streaming This Garden is part of the STUDIOTOPIA programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN ANTARCTICA ATHENS

Víctor Mazón Gardoqui (ES/DE) Onassis Stegi (GR) Harvesting Isolation Stories of Athens

In an attempt to address energy harvesting of an experimental monopole antenna system that Inside the Ars Electronica Garden Athens, Onassis What kind of cities are we going to experience isolated spaces, AXIS creates a vertical detection morphs according to the freezing and melting Stegi presents Data Garden, a multimedia installa- when our realities are both expanded and reduced device of acoustic phenomena which focus on processes affecting the received wavelengths. tion, and HackAthens 2020, a series of five works through technology? Are our daily micro-routines the concepts of presence, absence and density The system, connected to VLF/ELF wave detec- in the form of film, digital games, sound drama a form of resistance or the ultimate instance of of mechanical and electromagnetic waves, har- tors and µ-wave logarithmic detectors, is capable and mobile apps. Despite having very different compliance? vested from GARS O’Higgins Base and human- of receiving a broad band spectrum of natural points of departure, both projects explore the made abandoned scientific constructions on the phenomena and man-made radio waves. The local vs. global, the endemic vs. the permanent, Program Curation: Christos Carras, Prodromos Tsiavos Antarctic Peninsula. output of the detector system is connected to an algorithms and rituals, data, ecologies and bodies. Production Coordination: Heracles Papatheodorou Production: Ioanna Margariti, Katerina Varda The garden presents an immersive audiovisual VR ice membrane sound system and a set of trans- What are the data ecologies of tomorrow? Can we Participating Artists: Vasileia Dereli and Marialena Vyzaki, universe as a journey which displays the magnifi- ducers. The research and actions took place from develop models of symbiosis between humans- Kyriaki Goni, Lotus Eaters, Pari Selinas, Evita Skourleti, cation, reception and freezing of Earth’s natural December 2018 to January 2019 with a group plants and data? What are the data secrets hid- Christina Chrysanthopoulou and Olga Chatzifoti energy phenomena, in contrast to human impact of scientists, artists and researchers under the den in the DNA of a plant secretly grown in the and its implications for living systems in different POLAR Research Group. slopes of the Acropolis Hill? What is the future ecologies and their biopolitical interconnections. of our connected bodies in post-COVID Athens? Author: Víctor Mazón Gardoqui The main drive for this research is the explora- GARS O’Higgins Base — German Antarctic Receiving Can we reinvent our human relationships, bodily tion and investigation of what lies beyond human Station contacts, emotions jobs, sex lives and dreams in INACH — The Chilean Antarctic Institute perception, to capture the phenomena within this a world heavily mediated by technologies and Goni Kyriaki

Polar Research Group — isolated location that have strong implications constantly regulated by psycho-political constel- worldwide. The work builds a dialogue that both lations? In contrast to the conception of Roman- explores and critically addresses this sphere of tic gardens, Data Garden becomes a symbiotic mechanical and electromagnetic activity — not locus of humans, data and non-humans, memory accessible to human senses- through a series of and resistance. Cities are reimagined as assem- actions combining reception, transmission and blages of actors equally seeking the right to our the interruption of signals through custom-made memories. Similarly, HackAthens 2020 aims to electronic devices and site-specific interventions explore post-COVID-19 Athens: how are bodies on the Hertzian space. reconfigured in an era where digital communica- The VR installation displays a 3D audiovisual tions mediate all forms of activity, where haptic environment with the first study for an ice loga- encounters have become rare and where profes-

rithmic periodic antenna installed in Antarctica, Gardoqui Mazon © Victor sional and personal spaces are blurred? Plant, 2020 Datagarden the Invisible of AR Portrait

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ● Streaming This Garden is part of the AI LAB and EMAP programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN AUCKLAND AUSTRAL

Digital Research Hub and arc/sec Lab at the University of Auckland (NZ) Austral University of Chile, Valdivia (CL) Aotearoa Mutations

The Ars Electronica Garden Aotearoa assembles Garden host: Digital Research Hub (DRH), Everyone agrees that there will be a different Seismographs of the in-between, these works are selected projects from New Zealand’s technol- University of Auckland world after the current global health emergency. unfinished processes determined by the mutation. Garden development: arc/sec Lab — Uwe Rieger, ogists, artists and University researchers. The But before we get to that after, we still have to get Yinan Liu and Yan Li project aims to offer a portal to the creative there. We are in the in-between. The uncertainty Faculty of Architecture and Arts, Austral University of Chile technology scene in the South Pacific. Curated of the in-between is the moment of mutation. In Vice-Chancellorship of Research, Development and Artistic Creation, Austral University of Chile by the Digital Research Hub (DRH) and developed the Chilean case, this experience overlaps with Museological Direction, Academic Vice-Chancellorship, by the arc/sec Lab at the University of Auckland, unprecedented social and political unrest: the Austral University of Chile the Garden welcomes local and international visi- mutation of the constitutional regime that has Artists: Cristian Jimenez (CL), Jesus Roman (CL), tors to a cyber-physical environment. A setting of sustained the country since the 1973 coup d’état. Felipe Westermeier (CL), Karla Mendez (CL), Valentina Inostroza (CL), Carolina Ihle (CL), Alejandro Albornoz (CL), large-scale projection screens combined with 3D This uncertain in-between where local political Ivan Flores Arancibia (CL) projection mapping creates a dynamic environ- transformation overlaps with global instability, is ment which augments physical artefacts with vir- the core of the Mutations a proposal developed at This project is a cooperation between the Ministerio tual presentation formats using the Mozilla Hubs Austral University of Chile. de las Culturas, las Artes y el Patrimonio, the Ministerio platform. Physical and digital space are merged The program includes four activities that will de Relaciones Exteriores | Gobierno de Chile and Ars Electronica through a 1:1 calibration. In Auckland you may present the city’s ecosystem and the southern explore the exhibition in person or as a digital macro-zone of Chile, in relation to historical, cul- visitor from anywhere in the world by using a pc tural, ecological and visual mutations. This artis- © arcsec screen or a VR headset. The exhibition is designed tic proposal includes eight works which address as a bi-directional platform. It allows for both, mutation as an internal condition of art: the place to host content from other Ars Electronica hubs of theater in a world that is crumbling, landscapes and to showcase projects from the New Zealand of inorganic objects, mutations of domestic space based contributors. The Ars Electronica Garden in confinement, the boundary between nature Aotearoa presents performances and prototypi- and economy, the oral memory of women in con- cal installations, it offers tours through ateliers finement, the urban landscape and urban bodies and research facilities, and visits to cultural sites crushed by the violence of the political revolt, and extraordinary landscapes. For access to the the spectral sound of social claims in relation to garden and information on contributing technol- their suspension due to the pandemic, and the

ogists, artists and researchers visit: www.ars.nz Lastovich © Tyler archeology of the technological mutation in Chile. © Jesus Roman

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ● Workshop ○ Participatory virtual environments ● Journey ○ On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ● Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ● Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN AVIGNON BANGKOK

French Tech Grande Provence (FR) Tentacles Gallery, Freaklab Thailand, Jennifer Katanyoutanant (TH) Art + Tech for Urban Resilience Psych Garden: Spanning Today, 55% of the world’s population lives in transition process? How can artists help create Metaphysical Geographies urban areas, a proportion expected to rise to new imaginaries for collective and participatory almost 70% by 2050. Over the last century, our systems, spaces for reflection and criticism for As you join us from home, watching through your Henry Tan, Tentacles Gallery, Freaklab Thailand, cities have been built mainly on an approach our future? own computer frame, travel takes on a whole new Spacezab, Spaceth.co based on efficiency and productivity. However, Jennifer Katanyoutanant, Scott Kildall — Xenoform Labs, This garden is proposed by French Tech Grande Provence meaning. We move viewers through experiences Michael Ang, Grace Cong Xin Wong — Art Farm, the technical progress our societies has shown as a S+T+ARTS Regional Center. Since the creativity and that explore panpsychism and animism rooted in Zden Brungot Svíteková its limits in the depletion of natural resources, transversal thinking of artists tends to result in innovative Thai culture, asking visitors to wonder: How do and the destruction of our natural ecosystems. and unconventional ideas and practices, the Regional we understand planets, inanimate objects, engi- S+T+ARTS Centers believe that teaming up artists with In addition to this, the recent outbreak of COVID- technologists can advance more economically, ecologi- neered microorganisms, etc. through a cultural 19 has presented tremendous challenges for the cally and socially viable futures for Europe. framework? How do scientists, anthropologists, reorganization of urban areas, many of them and artists outside the Western canon formulate French Tech Grande Provence related to the massive potential shift in individual BOZAR their perception of the observed world? habits. To an extent, these new habits may con- S+T+ARTS Jennifer Katanyoutanat and Scott Kildall have trast starkly with the longstanding aim of reach- each created different ways to share remote sen- ing sustainable and equitable cities through, for sations. With collaborator Michael Ang, Scott has instance, the re-adoption of private means of created a live streamed audio installation that transportation, sprawl at much lower densities, gives voice to Thai plants. Jennifer and her col-

and the attraction of living in small towns rather laborators Grace Cong Xin Wong and Zden Brun- © Spacezab Rock, Lunar than large cities. got Svitekova have created a pathway to explore In the light of climate change and health cri- remote sensations through a taste-based guided sis, the concept of the ultra-technological and meditation. Visitors are encouraged to bring their connected “smart city” has lost ground to that own garlic. of the resilient and sustainable city. This urban Moving on to the wider world, Tentacles and ideal implies the transformation of the existing FREAK Lab Thailand investigate the cultural lens

ecosystem­ and our habits so that a more resilient of our observed world through three different © Henry Tan Roadmap, — society — with enhanced accessibility, social journeys exploring life, synthetic biology, geo- inclusion and citizen well-being — can emerge. politics and geology, and the future of space What role should be assigned to the conversa- exploration. Lunar of Pearl

tion between art, science and technology in this © 300.000 Km/s

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ○ On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the STARTS programme. ○ Film/Animation ● Streaming

36 37 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BARCELONA BARCELONA

Hangar (ES), NewArtFoundation (ES), .BEEP { collection;} (ES), Espronceda — Institute of Art & Culture (ES), MIRA Festival (ES), UOC — ISEA Barcelona (ES), Institut Ramon Llull (ES), OFFF Barcelona (ES) Institut Ramon Llull (ES), Helsinki XR Center (FI), ./ Studio Institute for Experimental Architecture (AT), MEET Digital Culture Center (IT), UCA (UK) Uncertainty and Ecology Solar Orchard Garden Uncertainty and ecology are two of the keywords Panelists: Brandon LaBelle (US), Robertina Šebjanič (SI), in this year’s edition that pose two big questions Oscar Martín (ES), Vanessa Lorenzo (ES), Laura Benítez Quintessence and Gaia Hypothesis (ES), José Luis de Vicente (ES), Joana Moll (ES), Andy that haunt us at this time of global pandemic. Gracie (UK), Israel Rodríguez (ES), Ingrid Guardiola (ES), Curiosity and Complexity defines Solar Orchard phenomena in the virtual world. The ­Amazonia These interconnected concepts have become the Vanina Hoffman (AR), Lina Bautista (CO), Daniel Moreno Garden on the basis of two concepts: quintessence, experience shows Earth as a continuous sword of Damocles as we make decisions about Roldán (ES), Agnès Pe (ES), Carolina Jiménez (ES) and the fifth element described by alchemy, and the ecological equilibrium with the Sun, its source our future. The Ars Electronica Garden in Bar- Lluís Nacenta (ES), Pau Alsina (ES) with Roc Parés (MX), Gaia Hypothesis formulated in the seventies. of energy and an extreme danger to life, from celona aims to account for the diversity of ways Marina Garcés (ES), Joan Soler-Adillon (ES), Tere Badia (ES), relator Pau Waelder (ES) Humans have always looked up to the skies for COVID-19 spreading across the globe to ritualis- in which the arts, sciences, technologies and Workshop by Kenneth Dow (DE) otherness and origin — god, knowledge, destina- tic performances that demonstrate to contempo- thought are facing the endless possibilities that tion, life. At the same time, Earth a self-regulating rary, Anthropocenic humans, how nature always hover over our times. Going from the unexpected TAXIS series conducted by Antonia Folguera (ES); involved artists and creators: Antoni Muntadas (ES), complex system, organic and inorganic at once, calls the shots. changes to all aspects of life with its accidents and Antoni Abad (ES), Alba G.Corral (ES), Playmodes (ES), orchestrates the biosphere, the atmosphere, the catastrophes, to ecology and its systemic interac- Josep Manuel Berenguer (ES), Marcel·lí Antúnez (ES), hydrospheres and the pedosphere. Acknowledgements: MIRA Festival, IMMENSIVA, tion between biotic and abiotic factors, we need Eugènia Balcells (ES), Joan Fontcuberta (ES), Garage Stories, Eyesberg Studio, Institut Ramon Llull The on site and online visitors / participants of the to address all human and non-human agents that Mario Santamaría (ES), Domestic Data Streamers (ES), Solar Orchard Garden are invited to participate populate and construct the environment. Nature, 300.000 Kms (ES) in two complex experiences: Stargazer and as constituent of all gardens, far from being an Amazonia. In Stargazer, the virtual environment obvious domain of reality, is a way of assembling draws its audiovisual inspiration from a pre- political order without due process. In this will to scientific understanding of the cosmos, where the interconnect politics with technology and nature, essence of the universe is spiritual, divine, mys- the city of Barcelona, within Catalonia, is here terious and full of wonder. It functions as a radio presented through a network of heterogeneous telescope observatory and laboratory environ- agents made of individuals, nodes, clusters or ment that inspects, manipulates and experiments hubs connecting with each other and the world. with the virtual world. Physical activity, like inten- Acknowledgements: Arts Santa Mònica, Disseny HUB sity of movement and gestures near the walls of Barcelona, IMMENSIVA, Departament de Cultura de la the projection site, translate into visible celestial Pilcher © Kris Travel, Fourth Generalitat de Catalunya, Sónar+D, Quo Artis Including works by Peter Weibel (AT), Albert Barqué-Duran (ES), Marc Marzenit (ES) Villa Della © Luciana Toplap, by Coding Session Live

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ● Workshop ○ Participatory virtual environments ○ Workshop ● Participatory virtual environments ● Journey ● On-demand content ○ Journey ○ On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming

38 39 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN BARCELONA

Sónar+D (ES) Future Perspectives of Music Technology

Sónar+D is an international congress of research- ers, innovators and business leaders to explore

how creativity is changing our present and pro- Ignée (SL), Lorenzi Sandra Roche STUDIOTOPIA, mote imagining new futures. Since 2013, this Ars Electronica Garden BRUSSELS antidisciplinary meeting gathers leading artists, creative technologists, musicians, filmmakers, designers, thinkers, scientists, entrepreneurs, makers and hackers in Barcelona to participate in a carefully commissioned program to inspire and network. Sónar+D contributes to this edition of Ars Electronica Festival by bringing an artists’ con- versation on the future of music technology in the era of AI, and a video performance capsule uniting music and artificial intelligence.

Curation and production: Sónar+D Filming: Factory Berlin Fourth Travel, © Kris Pilcher © Kris Travel, Fourth

Ars Electronica Garden BARCELONA

GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content © Ariel Ekblaw, MIT Media Lab MIT © Ariel Ekblaw, ● Performance/Concert/Event ○ Experimental tools Ars Electronica Garden CAMBRIDGE ○ Film/Animation ○ Streaming

40 41 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BASEL BAVARIA

HeK (House of Electronic Arts Basel) (CH) XR HUB Bavaria, University of Applied Sciences Augsburg, TUM Munich, Real Feelings. LMU Munich (DE) Emotion and Technology SENSING EXTENDED REALITIES Gardens a Research-Creation project HeK (House of Electronic Arts Basel) will partici- (Lauren LeeMcCarty — Golden Nica Interactive Silke Schmidt, Head of XR Hub Bavaria /Munich/ pate in the Ars Electronica Garden project with Arts +) or honorary mentions (Lucy McRae and Students, teachers and partners of three univer- sities join for the interdisciplinary project SENS- Karin Guminski, PhD, LMU Munich, Head of B.A. Arts the international group show Real Feelings, ­Shinseungback Kimyonghun) in this year’s and Multimedia / Andreas Muxel, Professor Physical ING EXTENDED REALITIES Gardens: University created in partnership with MU Hybrid Art House edition of the Prix Ars Electronica. Human-Machine Interfaces, Director HYBRID THINGS in Eindhoven, the Netherlands. Emotions are at of Applied Sciences Augsburg, TUM Munich, LAB, University of Applied Sciences Augsburg / Jan- the core of human experience. Love them or hate HeK (House of Electronic Arts Basel) in cooperation with LMU Munich. Together we explore human senses Hendrik Passoth, PD Dr., Head of Digital Media Lab, MCTS, Technical University of Munich / Aida Bakhtiari, Gnothi them, they influence every aspect of our lives and MU Hybrid Art House, Eindhoven in the context of extended realities and design Artists: Antoine Catala, Stine Deja & Marie Munk, Heather interfaces between the real world and abstract Collectiv LMU Munich, Art and Multimedia, Fine Arts ADBK shape our social behaviour. In the 21st century, Dewey-Hagborg, Justine Emard, Cécile B. Evans, Ed Munich / Andrea Geipel, Deutsches Museum DigitaXRl data space. For Ars Electronica, we will imple- technology has started engaging emotions like Fornieles, Maria Guta & Adrian Ganea, Esther Hunziker, and PhD student at MCTS, Technical University of Munich never before. The international group exhibition Seokyung Kim, Clément Lambelet, Lorem, Lauren Lee ment three project ideas as prototypes, merged / Elias Naphausen, Research Associate HYBRID THINGS LAB, University of Applied Sciences Augsburg / Students will present works by 20 artists, in mediums McCarthy & Kyle McDonald, Simone C. Niquille, Dani under the umbrella term SENSING EXTENDED Ploeger, Lucy McRae, Shinseungback Kimyonghun, REALITIES Gardens. There will be a Podcast doc- from LMU and TUM, Munich and University of Applied Sci- ranging from artificial intelligence, interactive ences Augsburg, authors of the respective arts projects. Maija Tammi, Troika, Coralie Vogelaar, Liam Young umentation of the working process, discussions installations, robotics and biometrics to gaming, Curators: Sabine Himmelsbach, Ariane Koek, The project is supported by the XR HUB Bavaria / Munich. and remote presentations / performances. We video installations, virtual reality and photogra- Angelique Spaninks phy. They explore how technologies are collating, will present three art projects on three different assessing or triggering our emotions in multiple days. We chose different forms of presentation ways and directions. These technologies are even for each project and — in line with the Research creating new feelings, which we haven’t found Creation mindset — will present a documentation words to describe yet. Several works have been of the process based on ethnographic fieldnotes produced expressly for this exhibition and will and accompanying interviews in the form of one be experienced for the first time. During Ars or more podcast episode(s). On the last day, we Electronica, HeK will present virtual tours would like to invite participants from Ars Elec- through the exhibition and online talks with tronica to join our behind the scenes talk and a curators Sabine Himmelsbach, Ariane Koek and party in one or several spaces that were created Angelique Spaninks, as well as with some of the for the XR HUB Bavaria as result of the competi- tion “Dream your virtual space.” participating artists who have also received prizes McRae @ Lucy Fellner © Lucas an Instant Stories of

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ● Participatory virtual environments ○ Journey ● On-demand content ○ Journey ○ On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ● Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming

42 43 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BELGRADE BERKELEY

Center for the Promotion of Science — CPN (RS) The Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley (US) art+science lab Machine Creativity at CNMAT CPN was founded to initiate, foster and sup- existential question — how to treat digital con- Hybrid-Performance, Machine Listening, Computer-Assisted Music Orchestration, port art & science collaborations in 2014 after tent that took on a physical existence, only to be and Audio-Driven VR Environments its participation in the European Digital Art and re-transferred to a virtual realm? In a loop that Science Network (Creative Europe project). As an may announce new modes of (co)existence, we CNMAT is dedicated to multidisciplinary research as concepts related to composable algorithms initial member of the Network, which involved shall consult one classic idea — replicant or not? and the creative use of sound, linking the con- that empower machines with varying degrees of three major European scientific institutions as Project manager and chief curator: Dobrivoje Lale Eric cert hall to the laboratory. Our center creates new autonomy for creative decision making. external partners, CPN contributed to shaping Project and a+s teams coordinator: Petar Lausevic works of music/art as well as researches, builds first sustainable, live network that could bring Art director & designer: Slobodan Coba Jovanovic and distributes software tools at the intersection Edmund Campion, composer and director, CNMAT creative minds together from seemingly opposed Program and a+s teams coordinator: Bojan Kenig Carmine Cella, lead researcher, CNMAT of AI and music. The projects presented in this Claudia Hart, media artist and CNMAT collaborator disciplines — arts and sciences. Guest curator: Maja Ciric / IT & Technical support: Vladimir Cicvara, Petar Panjkovic, Ivan Avdic, Mirjana Utvic garden focus on machine listening for hybrid-per- Jeffrey Lubow, music systems designer, CNMAT Back in 2014 and 2015, founding art & science­ 3D model of the exhibition: Antonio Giacomin and Mirjana formance (analysis, extraction and application of Andrew Blanton, media artist and percussionist activities took place in Serbia, which were Utvic / Thanks to: Cultural Centre Magacin Belgrade, parametric data from live sound),music informa- Jon Kulpa, Composer, sound and media artist followed by the establishment of annual series ESOF2020 Trieste, Milos Milovanovic, Milica Jankovic, tion retrieval for creation (analysis, extraction, The AIxMusic Festival, a S+T+ARTS flagship event, is art+science in 2016. Since then, each annual Mathematical Institute of the Serbian Academy of Sci- and application of data from audio files), as well organised by Ars Electronica and the European Commission. edition encompasses a diverse program including ences and Arts, School of Electrical Engineering, Univer- sity of Belgrade, Austrian Cultural Forum Belgrade, French exhibitions, educational workshops and master Institute Belgrade / Production: Center for the Promotion classes, talks and panel discussions, symposia of Science and international conferences. co-funded by the European ARTificial Intelligence Lab — Running in parallel to this year’s Ars Electron- AI Lab project (Creative Europe Programme of the European Union) ica Festival, the fifth edition is trying to tackle, analyze and discuss a unique moment of our existence, in which one of the tiniest (living?) creatures succeeds in conquering the planet! By means of limitless artistic creativity and advanced technologies embodied through AI sys- tems, art+science lab is more a sequence in time than a well-defined event. Its content is therefore presented in numerous ways and — to be on the Alice Unchained Alice safe side — virtually. This, however, leads to an © KristinaTica Digital Prayer,

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ○ Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ● Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the AI LAB programme. ● Film/Animation ● Streaming

44 45 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BERGEN BERLIN

Piksel festival for art and technological freedom (NO) CyberRäuber (DE) Piksel Cyber Salon CyberBallet

Piksel Fest Spill 2020 / COPY PASTE exhibition / CyberBallet is a project that underwent a drastic With the public rehearsals ending, the work will Hackteria & Badlab transformation: originally planned as a live VR premiere in September 2020 at Ars Electronica installation, we shifted the venue according to Festival, in front of an audience that can join the Piksel is an international network and annual meridian response) as a way to explore the the new normal of Covid-19. We transferred performance in VR, with a desktop PC within event for electronic art and technological free- online broadcasting of emotions through sound. CyberBallet into Cyberspace: a performance in VRChat (the platform we use) or via livestream dom. Part workshop, part festival, it is organized The Authors of the Future. Re-imagining Copyleft front of a live audience, sharing the virtual space on Twitch. in Bergen, Norway, and involves participants from lecture, by Constant, is about authors’ licensing. with their avatars and our performers on a social more than a dozen countries exchanging ideas, The curator’s tour will be led by Antonio Roberts, VR-platform. CyberBallet, a collaboration with Concept: Direction CyberRäuber (Marcel Karnapke, Björn Lengers) coding, presenting art and software projects, who will participate in the ALGORAVE with Alex Badisches Staatsballet, composer Micha Kaplan Music: Micha Kaplan doing workshops, performances and discussions McLean. and choreographer Ronni Maciel, turned into a Choreography: Dance Ronni Maciel on the aesthetics and politics of free technologies. series of public rehearsals, enabling the team and Stage: Angelika Katzinger Piksel participates in the unofficial parallel activi- COPY PASTE Exhibition our audience to learn the basics of performing Production: Eva-Karen Tittmann Curator: Antonio Roberts Choreography, Dance: Badisches Staatsballett ties around the Bergen International Festival. We arts in new surroundings. Featured artists: Carol Breen (IR), Constant (BE), Voice: Jessica Gadani call this new initiative Piksel Fest Spill. The goal LoVid (US), Lorna Mills (CA), Matthew Plummer-Fernandez Artistically, the project stayed very much the Funded by Kulturstiftung des Bundes, Fonds Doppelpass of this new program is to add electronic perfor- + Julien Deswaef, Duncan Poulton (UK), Eric Schrijver same: what does it mean to have a body, to mances to the art scene during the most interna- (NL), Peter Sunde (FI) move in space? Can AI truly grasp the basics of tional season in Bergen, May/June. Worship — Dinner Performance the human experience if it lacks a physical body? Hackteria, BadLAB, Maya Minder (CH). QWAS artists: Piksel Fest Spill 2020 is premiering the Piksel We used extensive video recordings of our danc- Dana Iskakova and Takhir Yakhyarov (KA), Cyber Salon. Designed by the Mexican artist Malitzin Renate Synnes Handal and Julie Silset (NO) ers and machine learning to isolate and analyze Cortés, the virtual venue hosts COPY PASTE, an Authors of the Future. Re-imagining Copyleft, Constant (BE) them; motion capture of dance movements and exhibition featuring the work of five artists who Live Coding ALGORAVE interpretative reactions to them. Alex McLean and Antonio Roberts (UK) all make copying a core aspect of their work. The Logistically it changed a great deal: we not Piksel Team exhibition aims to show that copying is natural, Piksel Fest Spill 2020 curators: Maite Cajaraville (ES) / only had to build a whole new stage and devise and to rethink the way we create/share/copy and Gisle Frøysland, Piksel (NO) mechanics to direct the performance in front of paste. Production and organization: Maite Cajaraville (ES) / a live crowd. We also had to reflect about how Piksel presents a video program and a Live Coding Gisle Frøysland, Piksel (NO) a stage works when the usual theatre conven- 3D modeling (Piksel Cyber Salon): Malitzín Cortés/ CNDSD (MX) ALGORAVE. The Worship — Dinner Performance, tions and learned modi operandi are simply not Piksel Fest Spill is supported by the Municipality of an original idea from Maya Minder, Hackteria, Bergen, Arts Council Norway and ProHelvetia. In collabo- applicable. takes elements of #asrm (autonomous sensory ration with Naked Transition, Gessnerallee Zurich.

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ● Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ○ On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming

46 47 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BIRMINGHAM BOURGES

STEAMhouse, Birmingham City University (UK) Ecole nationale supérieure d’art (ENSA) (FR), Antre-Peaux (FR) STEAM DRUMS RADIO

The Ars Electronica Garden Birmingham show- Most recently, we have organized The First BCU Drums is a collective of 9 emerging artists Our broadcasting center will be based at Haïdouc cases STEAM education practices from across International STEAM Conference to bring the Sci- researching and working within the field of sound, of the Antre Peaux Art Center to offer a counter- Europe and is hosted by STEAMhouse, a centre ences, the Arts, industry and academia together. and beyond. As part of the postgraduate Arts and part to broadcasting: a laboratory of exploration for innovation, creative thinking, prototyping Sound creation 2019-2020 session at ENSA, the that will allow us to shape and take part in the STEAMhouse: Patrick Bek (UK), Tom Cahill-Jones (UK), and business development powered by Science, collective reconsiders the relationship between broadcasting device. Clayton Shaw (UK), Laura Veart (UK) Technology, Engineering, the Arts and Maths, fine arts and sound. Drums will create an experi- Despite the distance and the dissociation of based in Digbeth, in the heart of Birmingham, mental platform Drums Radio consisting of broad- the sound bodies, Drums Radio will become a UK. It is a partnership between Birmingham City casts and live moments. Over five days (Septem- transdisciplinary moving space: instruments, University and Eastside Projects, a local artist-run ber 9-13), two hours of streaming will be held. machines, sound installations, actors are melting multiverse. Each daily session will be based on a specific pat- into a micro universe. Its aim is to be a space for the open, the curious tern, responding to the pattern of the day before. ENSA (Ecole nationale supérieure d’Art — Bourges — FR) and the creative that inspires people to exper- “A throw of the dice never will abolish ANTRE PEAUX (Bourges — FR) iment, test and develop new knowledge. Since EPAS (European Postgraduate in Arts in Sound — chance.” — Mallarmé opening its doors in May 2018, it has been priv- Hogent — Gent — BE) ileged to collaborate with local makers, artists, DRUMS will activate a special protocol: DDD. The collective is composed of Aurore Balsa (FR), Delphine entrepreneurs and project partners from around DDD is a conceptual analytical system where the Dora (FR), Ambre Dourneau (FR), Romain Gaudillière (FR), the world. association of three words starting with D creates Céline Jiang (FR/CN), Pauline Mikô (BE), Nina Queissner (DE), Natalia Rivera Riffo (CL), Victor Villafagne (FR). STEAMhouse sees that STEAM is centered on col- a tridimensional investigation space. As sound laboration and openness, and believes that those matter is a wave working in three dimensions, principles are most fully realized when the arts we assign it to a tridimensional physical space. and the sciences are allowed to collide, for the The protocol of our action is as follows: Pick- creativity embedded in both to be released. The ing three “D” words per day. These three words team at Birmingham City University is involved in frame our exploration field. a number of initiatives to develop STEAM thinking Examples or potential D patterns: and approaches including European projects like Dimension / Decay / Decadence / Decline / Dis- the Erasmus+ STEAM Innovation and Curriculum, pute / Demon / DIY / Dilemma / Dissonance / developing and hosting STEAMlabs and creating Decolonization / Danger / Discourse / Demystify toolkits to support innovation processes. / Dissolution / Drift / Dystopia / Debate / Decide

/ Damage / Dream / Drums © Jean-Michel Ponty

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ○ On-demand content ○ Performance/Concert/Event ○ Experimental tools This Garden is part of the ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming STEAM and Art&Science programme. ○ Film/Animation ● Streaming This Garden is part of the EMAP programme.

48 49 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BRAGA BREMEN

gnration (PT) and INL — International Iberian Nanotechnology Institute (PT/EU) Universum® Bremen (DE) Art and Nanotechnology Space Garden

For its Ars Electronica Garden, gnration will pres- Work by Marcel Weber (DE) Through the special exhibition “Up to Space” Leefje Roy ent a virtual tour of The Invention of Sense, by Commissioned by gnration (PT) (October 2020 — September 2021) you will be Ulrike Isenberg Scientific supervision by INL — International Iberian Universum® Bremen: Melanie Wittig (DE) German artist Marcel Weber. able to discover how to get to space, what it’s like Nanotechnology Institute (PT / EU) Presented Project 1: Ulrike Isenberg, The Anthropocene impacts issues of global mag- Video by Neva Films up there and how we on Earth profit from space Wilhelm-Wagenfeld-Schule Bremen, nitude, the overcoming of which calls for tech- exploration efforts. In conjunction with this — and Christian Meier-Kahrweg nological evolution. The fabric of the future is as a hub of scientific communication — the Presented Project 2, Format 2: Leefje Roy, developed at nanoscale, far outside the scope of ­Universum® Bremen is also part of the current Oberschule Rockwinkel, Moyo von Wahlert Format 1: Matti Wiemers, Silke Zierenberg, Dirk Stiefs what human senses can fathom; on a scale no eye project spaceEU, which aims to promote aware- can discern, no finger can touch and no nose can ness of space topics and careers, especially among scent. Scientific work is thus based on vastly-ex- students and teachers. tended sensing and exciting. As with technolog- A fundamental understanding of science and ical nerve endings, this domain of research pries research is necessary to help shape our complex into another dimension through a new apparatus world. At Universum® Bremen our guests of all of understanding developed by its users. The ages are accompanied with enthusiasm and hos- infinitely small requires infinitely high sensitivity. pitality while they discover scientific phenomena. The exhibition’s pieces explore this extrasensory Our offerings stimulate amazement and under- © NUDO — Carvalho Araújo perception and new sensuality. In the featured standing and are thought-provoking. With more works, as well as in their presentation, Sensing, than 300 exhibits you can experience and under- © Universum®Bremen Discovering and Exciting are discussed, stimu- stand scientific phenomena up close and with lated and elevated. Formally, the exhibition takes all your senses. The three subject areas — Tech- the premise further by extending the establishe- nology, Humans and Nature — are waiting to be drestrictions of gallery space and turning the explored. room itself into a medium and a stimulating, visceral experience. spaceEU has received funding from the European Union’s This exhibition is held under the program Scale Horizon 2020 framework programme for research and innovation under grant agreement nº 821832. Travels, a collaboration with the International DLR_School_Lab Bremen: Dirk Stiefs (DE),

Iberian Nanotechnology Institute (INL). Sousa © Hugo Silke Zierenberg (DE) Olbers-Planetarium Bremen: Matti Wiemers (DE) © Universum®Bremen

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ○ On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming This Garden is part of the spaceEU programme.

50 51 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BRISBANE BRUSSELS

Museum of Brisbane (AU) Centre for Fine Arts (BOZAR) (BE) Man & Wah: CELESTON Genetic Biotech Through

Man & Wah’s practice is a remedy to reconnect us Courtesy the artists and Museum of Brisbane (MoB) the Eyes of Artists with nature and the cosmos, pondering the mys- MoB’s Artist-in-Residence program is supported by Tim Fairfax AC tery and multilayered momentum that propels Modern biotechnology is developing very quickly. ­Programme), VIB takes up the challenge to make the cosmic process and its influence. Their work In Prometheus’ footsteps, we use new biologi- their cancer research and the use of CRISPR is informed by how language impacts the way cal tools to transform our healthcare and well- CAS9 technology better known, more negotiable we think and feel, how the past and present can being. The latest CRISPR CAS9 gene technology and supported by the general public. mould ideas, beliefs, and social structures, and can permanently erase, weaken or strengthen BOZAR will also be part of the AIxMusic Festival. how information flow is controlled to induce cer- hereditary properties and add new ones, leading Live coding expert and drummer Dago Sondervan tain human reactions and ultimately outcomes. to a fundamental transformation of man as an and multi-instrumentalist Andrew Claes team During their Museum of Brisbane (MoB) Artists@ evolutionary species. In the future, researchers up for an experimental exploration of artificial Home residency, Man & Wah created the video may develop personal medications and therapies intelligence in music performance. Armed with CELESTON, a curated amalgamation of audio, that stop us from feeling fatigue or pain, or babies an arsenal of specifically developed tools and video and photographic material centered on with the DNA of three people that may have been applications, the duo will train a virtual agent the cosmic and botanical worlds, drawn from made resistant to COVID19. But these applica- towards musical autonomy and realtime interac- the artists’ extensive catalogue created over the tions are not without danger. Some activists and tion, becoming a trio along the way. past seven years. In the context of a global pan- critics point to the possible social and ethical demic and the rise to dismantle systemic rac- consequences: what if only the super-rich can BOZAR LAB ism, creating the work was a form of self-directed make their children more athletic and intelligent? The BOZAR LAB is a space dedicated to the learning — questioning the artists’ place in the The context of necessary scientific developments reflection on links between art, society, technol- events surrounding us all. Museum of Brisbane and the global COVID19 crisis provides the ideal ogy and sustainability in the Centre for Fine Arts, is dedicated to supporting the city’s many tal- momentum for public debate on genetic modifi- Brussels (BOZAR). ented artists, designers, writers, historians and cation. The Flemish Institute for Biotechnology storytellers. We invite artists to create works (VIB) — a research institute for the life sciences Centre for Fine Arts (BOZAR), Brussels inspired by our beautiful city and engage our vis- Man & Wah, S3 INTERCONNECTEDNESS 08 2020, in Flanders, BE — investigates the fundamental Vlaams Instituut voor Biotechnologie (VIB) Planetary graphics: Erich Karkoschka (Uni of Arizona), and NASA/ESA, itors in a global conversation. MoB Artist@Home David Crisp/WFPC2 Science Team/JPL-Caltech/NASA, NASA/JPL, molecular mechanisms of life and how complex Gluon NASA/Ames/SETI Institute/JPL-Caltech, Bruce Balick (Uni of Wash- Studiotopia, project co-funded by the Creative Europe Residency was designed to support artists and ington), Vincent Icke (Leiden Uni, The Netherlands), Garrelt Mellema biology underlies both health and disease. (Stockholm Uni), NASA/ESA, NASA, ESA & The Hubble Heritage Team Programme of the European Union. record their lived experience during the COVID- (STScI/AURA). Together with BOZAR, GLUON and the artists The AIxMusic Festival, a S+T+ARTS flagship event, is 19 pandemic. Kuang-Yi Ku & Sandra Lorenzi (Studiotopia organised by Ars Electronica and the European Commission.

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ● Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ● Film/Animation ● Streaming ○ Film/Animation ● Streaming This Garden is part of the STARTS programme.

52 53 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BUCHAREST BUCHAREST

H3 Studio (RO) National University for Theatre and Film IL Caragiale Bucharest (RO) H3 Before Detach UNATC Distant Art

H3 — Before Detach is situated in a special part performances and bespoke designs. Working In an empty nature lot in the middle of Bucharest, National University for Theatre and Film IL Caragiale, of Bucharest that was on the periphery at the under a sort of alchemical paradigm, their works Distant Art displays works developed during lock- CINETic Centre University of Bucharest beginning of the 20th century and is a place for transmute qualities from various projects and down by students of interactive technologies The University House of Bucharest real estate development in the year 2020. The typologies into poetic, evocative experiences. for performing and media arts, as well as game CINETic residencies was financed by AFCN urban landscape is a contradictory jumble of design. UNATC Garden also presents the results (National Cultural Fund Administration) early-twentieth-century residential houses, fac- H3 Studio / Odeon Theatre / Kaustik of the online collaboration between four inter- Curated by: Alexandru Berceanu tories, warehouses, communist blocks of flats, Project financed by AFCN (National Cultural Fund Admin- national artists working in interactive art and Exhibition Design: Iuliana Ghergehescu new residential buildings and office buildings in istration): “The project does not necessarily represent CINETic Centre researchers and artists. Distant Art Ionuț Crava: ASCII DREAMS/ Cosmin Tița: Ennui/ the position of the National Cultural Fund Administration. Maria Năstase: Sonic Images, Hoarder / Emil Drăgan: an urban space that has not found its identity in a looks for new ways of for people to communicate AFCN is not responsible for the content of the project or CONTROLLed, Paradise Swing/ Alexandra Albu: Acts of hundred years. Old buildings make way for urban how the project results can be used. They are entirely the in a world where direct contact was paused for Perception: Engender/ Sebastian Comăneci: Quantum development, new conflicting changes emerge for responsibility of the beneficiary of the funding.” a time. While perspective was drastically shifted Polytopes / Cristi Dragomir THE SECRET/ Fiuciuc Andrei the neighborhood and for H3, which is preparing for artists working with physical presence, virtual Nicolas C.D.P.R./ Bogdan Gheorghiu U Pilot /Andrei Păun: for a new trip. H3 — Before Detach is expressing Who am I? worlds built for digital games made more sense The Galerist/ Cip Făcăeru, Adrian Raicu: Dream Space Concept: Adrian Damian (RO), Director and writer: Alexandru Mechanics a Bucharest neighborhood’s search for identity Berceanu (RO); Set designer: Adrian Damian; Motion than ever. UNATC Garden offers a perspective on for over 100 years. Before Detach will be the last designer: Andrei Mitișor (RO), Sebastian Comănescu how art students and artists adapted their practice event happening at H3 Studio before the factory (RO); Soundscape: Vlaicu Golcea (RO); Coreography: to the no-contact, no-proximity, no-touch world that hosts it is demolished. H3 — Before Detach Andrea Gavriliu (RO); Costumes: Luiza Enescu (RO), Video and the strategies they used to reach others. Due designer: Dilmana Yordanova (BG), Răzvan Pascu (RO), will present a human robot performance Who am to social isolation, students experienced anxiety Videographers: Ioana Bodale (RO), Adi Bulboacă (RO), I?, an exhibition of Interactive Art Installations, a Sorin Florea (RO), Performers: Andrea Gavriliu (RO), and disorientation states specific to deprivation live tour of the exhibition Before Detach and of the Mădălina Ciotea (RO), Vlad Bîrzanu (RO), Anda Saltelechi of human contact. Projects are directly shaped by surrounding neighborhood. H3 is an art & tech- (RO), Meda Victor (RO), Eduard Trifa (RO), Video engineer: isolation, most of them experiencing strange inter- nology studio established in 2017, located in the Luca Achim (RO), Lighting designer: Cristian Simon (RO), ferences and unexpected paths. UNATC Garden Light engineer: Andrei Delzeg (RO), Financial­ Coordinator:­ varied Popa Nan street in Bucharest and based Andreea Chindriș (RO); Production Manager: will mix several onsite installations documented

in one of the buildings of Popular Silk, a factory Florin Niculae (RO); Managing producers: Ana Țecu (RO), online with native online projects in Distant Arts. © Maria Nastase producing silk in Bucharest from 1923 to 1990’s. Ana Ciobanu (RO) UNATC is a university dedicated mostly to Theatre Blurring the boundary between disciplines, H3 and Film teaching, but also Choreography, Game Before Detach Studio is focused on digital technologies and spa- Curators: Adrian Damian (RO), Dilmana Yordanova (BG) Design and Interactive Technologies. UNATC tial practices to develop artworks, installations, and Alexandru Berceanu (RO) Garden is hosted in the park of the University

House of Bucharest University. distantart.sonicimages

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ○ Streaming

54 55 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN BUENOS AIRES BUENOS AIRES

Museo de la Universidad Nacional de Tres de Febrero — Centro de Arte y Ciencia (AR) LatBioLab Latinamerican Bioart Lab, UAI Universidad Abierta Interamericana (AR) Universidad Nacional de Tres de Febrero (AR) The Garden of Curiosity The Nature of our Nature The contribution of artistic creativity fosters This garden hopes to sensitize us on our human A Journey Through Multiverse Cultures thinking outside the box, and becomes an import- condition and our relationship to the Earth Gaia, ant ingredient in research groups. The increas- deepening the journey of discovery around A garden can be considered a particular arrange- by clicking on each one of them, visitors access ing complexity in different disciplines leads us The Nature of our Nature. ment of ecosystems that can grow in many audiovisual content linked to many especially to think of the interdisciplinary as a fundamental expected / unexpected ways due to careful invited art and science projects. tool to generate a synergistic effect, and art can- Curators: Valentino Catricalà / Natalia Matewecki planning and bearing. Initial seeds and land LatBioLab Latinoamerican Bioart Lab, UAI Universidad Design Concept: Mariano Sardón, Lucía Kuschnir, Cintia not be absent. Abierta Interamericana (AR), Proyecto SACO (CL), design will grow and show us how time cycles Ferstemberg, Rocío Pilar De Lara This is why Rabdomante and Glaciator are con- Quo Artis Foundation (ES), Antarctic Biennale (RU), and nature develops. A garden engages us with SWAP development manager: Guillermo Suarez (UNTREF fronted by a fundamental challenge in a Dialogue Objeto a (AR) MEDIA) Developers: Guillermo Bacigalupo (UNTREF multiple forms and sensations we can’t predict Between Two Deserts. Two different places, two MEDIA), Jonathan Rikles (UNTREF MEDIA) Dialogue Between Deserts: Joaquín Fargas (AR) beforehand, despite a proposed order. In many different spaces and purposes, joined by one phil- The Garden of Curiosity is a “visual and sound objects” LatBioLab Exhibition: Alejandra Marinaro (AR), languages, the word culture refers to cultivating web support scenario. By clicking on specific objects, osophical vision: how can art provide a new vision Darío Sacco (AR), Joaquín Fargas (AR) land. Our knowledge and social practices could visitors can access audiovisual content corresponding to of the human being through technology? Complex Thoughts Lab: By students of the Universidad grow in a kind of designed territory with more or different Art-Science research projects linked to Muntref The Latinamerican Bioarte Lab (LatBioLab) Abierta Lationoamericana (AR) and the Universidad de less boundaries; though developing cultures are Arte y Ciencia. Among the transdisciplinary works that Puerto Rico Recinto de Biopiedras (PR) can be explored are projects by: Mariano Sardón (AR), reviews more than 12 years of bioart in Argen- always mixed processes. How could we build an Mariano Sigman (AR/ES), Marcos Trevisán (AR), Bruno tina. From The Biosphere Project, a simple way ecosystem for culture growing? Muntref Arte y Mesz (AR), Intercambios Transorgánicos (AR), Sebastian to show the world ecosytem, to Colony, which Ciencia can be thought of as a diverse ecosystem; Tedesco (AR), Maria Ceña (AR), Leandro Garber (AR), connects technology with biology, through Cellu- Tomás Ciccola (AR) and others. a cultural garden that disseminates through vast lar Seeds — Inexorable Futures, which generates and multiple flowerbeds. Since 2011, Muntref a new kind of “tech-life.” Arte y Ciencia has been weaving connections not The Complex Thoughts Lab questions us about only with people from diverse disciplines, groups what we’ve learned from COVID-19. Is this cri- of students, different institutions and several sis an opportunity to think about a new society? technical environments, but also by generating Students from UAI University (Universidad Abi- inspirational and empathic relationships in a erta Interamericana) and the University of Puerto growing network. The Garden of Curiosity is an Rico express different ideas to shape a new world interactive navigable visualization through which model for future generations. © Joaquin Fargas Project The Biosphere we aim to share this cultural diversity. When

navigating through this environment replete Velazco deep unlearning © Milagros with objects, words, sketches and sounds, and

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ● Streaming

56 57 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN CAIRO CAMBRIDGE

Cairotronica (EG) Space Exploration Initiative, MIT Media Lab (US) WE ARE DATA Space Has Arrived

WE ARE DATA came as a response to the increas- Film Protagonists: Ahmed Aiuby (EG), Ahmed Soleman If nothing else, 2020 has lifted the veil, and a space world: Wellbeing in Extreme Environment. ing responsibility placed on “technology” as a (EG), Imane Ibrahim (EG), Mona Makhlouf (EG), comprehensive global crisis is now drowning in We will invite the public to engage with the imag- Sabah El Hadid (EG), Shadwa Ali (EG) tool which facilitates inclusive development and humanity’s collective awareness. Confronted inative, critical conversations on our planetary Filmmaker: Selim Elsadek solutions to many challenges currently facing with the urgency of our planetary predicament, future through three workshop events. We will cities like Cairo in sectors such as transporta- we revisits Buckminster Fuller’s Operating Man- also feature an exhibition on Sojourner2020, the tion, health, agriculture and education. This, in ual for Spaceship Earth, a reminder that Earth is a first international art open call that took a trip turn, raises questions about security, privacy, spaceship with finite supplies and collaboration is to the International Space Station this March. accountability, bias, agency, transparency, and the key to our collective future. We are at a cross- Sojourner2020 is created by an unprecedented ethics among many others. roads, having simultaneously gained the poten- collection of international artists, bringing in Through the We Are Data fellowship, we wanted tial to destroy all life to extinction and acquired knowledge from indigenous groups, queer com- to encourage dialogue on the complexity of tech- the skills to fulfill the basic survival needs of all munities and diverse cultures, as well as trans- nology and data in the 21st Century from the per- humanity. At the Space Exploration Initiative, disciplinary perspectives. spective of 6 Egyptian artists. we are creating and deploying space technolo- The program is structured in a way that creates gies that envision a bold and culturally rich “new Space Exploration Initiative, MIT Media Lab a space for dialogue, collaboration, and experi- space age,” from astro-bacterial wearables, to Garden Curator: Xin Liu (CN) mentation, as it is meant to learn from and adapt open-access and shareable cubesat constella- Workshop Leads: Ariel Ekblaw (US), Maggie Coblentz (CA), © Haytham Nawar © Haytham to the local context in which the participants are tions, through musical instruments for our space Che-Wei Wang (US), Sands Fish (US), Mehak Sarang (US), operating. The program was developed with the voyages and floating space habitats. The philos- Sojourner Artists: bioarchitectures Luis Guzmán (CL) aim of focusing on transdisciplinary art education ophy of “democratizing access to space explora- Unearthing the Futures Xin Liu (CN), Lucía Monge (PE) & cultural production in Egypt. We wanted to cre- tion” — bringing moonshots and starshots into the Abiogenetic Triptych Levi Cai (US) & Andrea Ling (CA) ate a program for Egyptian artists that allowed purview of hackers and makers — courses through Memory Chain: A Pas de Deux of Artifact Kat Kohl (US) them to explore & produce at the intersection of our work, and guides both our research platform Pearl of Lunar Henry Tan (TH) art, technology, design, and digital culture in a and our extensive STEAM outreach efforts. In our Finding Equilibrium Janet Biggs (US) Nothing, Something, Everything Masahito Ono (JP) way that encouraged experimentation & dialogue. garden, we will share the diverse portfolio of the TX-1 Adriana Knouf (US) initiative. As the audience “walks” around inside Canupa Inyan: Falling Star Woman Erin Genia Cairotronica (EG): Haytham Nawar, Ghalia Elsrakbi, the garden, we want to immerse them in a digital (American Sisseton Wahpeton Oyate) Nada Bakr, Ahmed Al-Laithy, Rana Magdy Impakt (NL): Arjon Dunnewind Supported by Creative Industries Fund NL © Ahmed Ellaithy

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ● Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ● Film/Animation ○ Streaming ○ Film/Animation ○ Streaming

58 59 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN CAMBRIDGE CAMPINAS

Tangible Media Group | MIT Media Lab (US) University of Campinas (UNICAMP) (BR) Presence of Absence #MemóriasCOVID19 Brazil

Presence and Absence are the fundamental states an inter-generational duet through the tangible The COVID-19 pandemic is changing our life, both published on the platform #MemóriasCOVID19. of being; being present or close, and being absent, medium of a piano. The Cambridge Garden by individually and globally. Although the modern It is up to the applicant to authorize, or not, the distant or lost. Beyond Being There (Jim Hollan et Tangible Media Group | MIT Media Lab will be world has gone through other major epidemics, disclosure of her/his identity. al. 1997), a seminal work on designing the next featuring selected projects that materialize the this one takes on an unprecedented appearance. Coordination: Ana Carolina de Moura Delfim Maciel generation of telepresence, maps out how to Presence of Absence. Our garden introduces the We can already perceive its dimension as trauma, (UNICAMP) move beyond trying to imitate physical co-pres- latest Tangible Telepresence research to engage something that will resize human relationships, Curatorial Committee: Ana Magalhães (USP), Andrea ence and face-to-face interactions. Imitation as a people who collaborate across time and space our interaction in public spaces, and our perspec- Casa Nova Maia (UFRJ), Benito Bisso Schmidt (UFRGS), Cecilia Helena Lorenzini de Salles Oliveira (USP), Charles goal is a mirage; awareness of the physical sepa- with synchronized tangibles. We also feature a tive on time. #MemóriasCovid19 is a platform cre- ration of our bodies persists. In virtual space, the variety of dynamic computational materials we Monteiro (PUCRS), Daniel Munduruku (INSTITUTO UK’A), ated to allow different journeys to intersect from Diego Kern Lopes (UERJ), Elena Brugioni (UNICAMP) sense of touch, kinesthesia, and proprioception call Radical Atoms that foster a new form of the point of view of identity. They will transmit Kátia Couto (UFAM), Heloisa Buarque de Almeida (USP), do not apply to interactions with others’ virtual human-material interactions. their narratives through traits and images, unit- Keila Knobel, Lilia Moritz Schwarcz (USP), Mônica Raisa presence and surroundings; thus, we lose the ing elements experienced by human groups from Schpun (EHESS), Pedro Guimarães (UNICAMP), Raquel Hiroshi Ishii, Zhipeng Liang, Paula Aguilera, Ken Nak- Rato (FCSH NOVA), Zélia Amador de Deus (UFPA) sense of others being there. The infusion of tangi- different social spectra. The current moment is bility will enable the reinvention of telepresence. agaki, Kyung Yun Choi, Hila Mor, Alice Hong, Jack Forman, Jonathan Williams, Deema Qashat (Tangible Media Group, significant for establishing new projects, fore- inTouch (TMG 1998) physically embodies the con- MIT Media Lab) seeing new horizons, and establishing strategies cept of ghostly presence by making users aware to better face the uncertain future. While in this of the other person’s existence through the sense horizon of waiting, we can gather narratives as a of touch without representing the person through way to collect and preserve fragments of experi- pixels (absence of body). By seeing and feeling a ences and perceptions. This is a space where you physical object moving on its own, we imagine can share written stories, photographs, drawings, a person’s physical presence even though they letters, audio, songs, and videos about your per- are physically absent. Absence is a new form of sonal experiences during the pandemic. The col- presence. The Presence of Absence leads us to lected material will be submitted to the Curatorial the Portuguese word “saudade”, which signifies

Committee; those selected will be notified and Villa © Dalton ‘the desire for the beloved thing, made painful by its absence’ (Teixeira de Pascoaes 1912). We have an intense longing to meet and interact with loved ones who are no longer with us. MirrorFugue

(Xiao Xiao 2013) exemplifies this by capturing Media Lab | MIT Media Group © Tangible

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ● Film/Animation ○ Streaming

60 61 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN CAPE HORN ISLAND CASTELO RODRIGO

Terra Australis Ignota Research Group (CL) with Open Science Hub — Portugal, Municipality of Figueira de Castelo Rodrigo (PT) Santiago Museum of Contemporary Art (MAC) The Night Sky Achæoscillator_Towards Incorporeal Unveiling What Only the Dark Reveals Forms of Sensing, Listening and Gaze The night sky darkness of interior of Portugal is What is the world like when the other senses take Achæoscillator_Towards Incorporeal Forms text and video essays with local and reknown among the gems of the region, but this pristine the lead? of Sensing, Listening and Gaze is an ongoing archaeologists, geologists, seismotectonicists, sky is slowly being threatened by light pollution. Sensing the Night | Observation of Nocturnal research and AR/VR immersive installation that curators and artists. In this Garden, we invite you to participate in a Wildlife: Nocturnal animals have evolved an array uses the natural energies and drastic conditions sensory exploration of the night sky at the histor- of adapted senses that allow them to move, mate of the southernmost island on Earth to build a Project developed by Terra Australis Ignota / Research ical village of Castelo Rodrigo: one of the Seven and hunt in the darkness that surrounds them. Group: Alessandra Burotto, Paula López Wood, Víctor virtualized representation of the end/start of the Wonders of Portugal. Four capsules and four Owls have big eyes, bats use ultrasonic sounds Mazón Gardoqui, Valentina Montero, Alfredo Prieto, Americas. A virtual hub to travel, as a one-person Gerd Sielfeld, Nicolas Spencer. AR/VR installations by experiences. Four entry points to the invaluable for echolocation, snakes have heat sensory experience, to the remote island of Cape Horn, Víctor Mazón Gardoqui and Nicolás Spencer richness of Portugal’s night sky. receptors. And tonight: what will we find? 55°57’49.6”S 67°13’09.9”W, where extreme Perceiving the Night Sky I: Guided Tour of the This project is a cooperation between the Ministerio weather conditions offer inestimable and uncon- Plataforma de Ciência Aberta, Municipality of Figueira de las Culturas, las Artes y el Patrimonio, the Ministerio Sky by An Astronomer: To observe the night sky de Castelo Rodrigo — University of Leiden. João Retrê, trollable evidence of Gaia’s power. de Relaciones Exteriores | Gobierno de Chile and is to acknowledge infinitude, a concept hard to Institute of Astrophysics and Space Sciences. Rewilding Terra Ignota Research Group focuses on these Ars Electronica. grasp and impossible to see. What would reveal Portugal. Associação Transumância e Natureza. Cantinho inputs to create site-specific monumental instal- the healthiest eye in the darkest sky, and how Café — Castelo Rodrigo lations which visitors to the festival will experi- does light pollution influence our perception of ence through virtual reality. The purpose of this the night sky? The Ethnography of Dark Skies | research is to trace the presence and significance Storytelling by Local Inhabitants: The dark sky has of acoustic phenomena in relation to the myths always been a source of inspiration for humans. and beliefs of indigenous populations present But darkness also triggers innate fears by expos- in Tierra del Fuego, the interethnic traces are ing our discomfort towards the unknown. How bio-cultural routes to the past, especially as per- is the dark sky represented in the memory of tains to the ancestors of the Yagán, the Kawesqar the local people? Re-tuning our Perception of the and the Selk’nam in the Almirantazgo Sound area. World | Craft Beer Blind Tasting: We are visual ani- Attention is also brought to how the Antarctic, mals, and our perception of the world under-rep- Scotia and South America continental plates col- resents the plethora of sensations that reach us lide there. The presentation consists of curated from other sensorial streams. Darkness is an © Adina Secretan © opportunity to re-tune our perception. © OSHub-PT

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools This Garden is part of the ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming OSHub and spaceEU programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN CHICAGO CLUJ

Art & Technology Studies at the School of the Art Institute of Chicago (US) Cluj Cultural Centre (RO) [Dis]position Questioning Hierarchies Great Lakes Garden Chicago Between Art and Science Society slammed the brakes and we are all still Curated by Duncan Bass, Bopha Hul, Patrick O’Shea and The Ars Electronica Garden Cluj features the resi- re-contextualizes historical, social and cultural reeling. As we struggle to reorient ourselves — in Doug Rosman. Web developement by Doug Rosman. Exhibition organized by Art & Technology Studies at the dents invited by Cluj Cultural Centre to participate references to unveil the complexity of everyday time, in space, and in relation to one another — the School of the Art Institute of Chicago. in the European Art & Science project, Studioto- life and the conditions for viewing history. past becomes difficult to distinguish from the pia. Cluj Cultural Centre embarked on Studioto- future. In this haze, one thing is clear: the pres- Alexandra Pirici (RO), Ciprian Mureșan (RO) pia motivated by the challenge of connecting arts ent is our moment, and our chance to build the and science in a more organic, non-hierarchical world we want to inhabit. [Dis]position is a virtual manner. The project integrates well with our local exhibition space that exploits its immaterial sta- engagement and programs to support artists in tus to bring together digital and physical artworks their work, create a context for knowledge-shar- and environments. Folding the map in on itself ing among professionals in different disciplines, to fuse distant geographies, [Dis]position under- bring STEAM education into schools and develop scores the impossibility of a virtual utopia and research. We are also motivated by the partner- the urgency of reimagining our collective reality. ship built up between such diverse and strong Using the prefix dis- as an organizing principle, international institutions, and we join our com- the artworks in the exhibition act as a reversing mon journey with purpose to produce new struc- force, embracing the conditions of physical dis- Eduardo Kac, Inner Telescope 2017, © Eduardo Kac 2017, © Eduardo Inner Telescope Kac, Eduardo tures of knowledge by bringing art and science © Dirk Pauwels Column #6, Ciprian Mureşan, Plague location to foreground the inherent potential of closer together. shared aesthetic experience. The first of its type For the Studiotopia residency programme, Cluj in the United States, SAIC’S Art & Technology Cultural Centre has invited two artists to join the Studies department was established in 1969 with project: Alexandra Pirici and Ciprian Mureșan. the introduction of a single course operating at Alexandra Pirici is a Romanian artist and cho- the intersection of art, science, and technology. reographer whose performances and installa- Since its inception, the program has continually tions explore history and invisible structures pioneered the use of emerging technologies in of power, in both gallery and public spaces. contemporary art, developed new models of Ciprian Mureșan lives and works in Cluj, artistic practice and integrated these models into Romania. In his works, he explores, salvages and

the curriculum of one of the world’s most influen- 2019, © Kio Zhu Kio Zhu, Memory a Veteran of Dinu Pirici, © Andrei Alexandra Aggregate, tial art and design schools.

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ○ On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming This Garden is part of the STUDIOTOPIA programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN DAEJEON DENVER

Daejeon Museum of Art (KR) The Clinic for Open Source Arts (COSA) (US) Daejeon Biennale Garden COSA Connectors

2020 Daejeon Biennale brings together works spaces between art, which explores things that COSA Connectors is a new series of videos explor- The Clinic for Open Source Arts is funded in part by t that harness advanced AI technologies in pur- deviate from economic logic, and AI technology, ing and showcasing the many free/Libre open he Knight Foundation and supported by the Emergent Digital Practices Program and the Madden Center at suit of an expanded field of artistic expression. which is always concerned with social utility. source tools (FLOSS) used by artists and other the University of Denver. A range of displayed works, in which elements of Ultimately, the exhibition will examine the areas creatives. Each 2-3 minute video takes a quick COSA Connectors are Aren Davey, Everest Pipkin art and science exist in fusion, will present mul- where the two overlap. look at a tool, sharing what it can do and talking and Dan Taeyoung tidisciplinary approaches to AI, as they take their about who might find it useful. The particular Production by Chris Coleman sources from various fields such as literature, cin- SUN Seunghye (Director of DMA), KIM Juweon (Chief tools are curated and toured by an energetic ema, data science, etc. Simultaneously, the body curator of DMA), KIM Minki (Curator), HONG Yeseul group of people (Connectors) working in the dig- (Curator), LEE Bo Bae (Curator), Alice WOO (Curator), of work will be a reminder of both the functions LEE Suyeon (Educator), Anna BINN (Exhibition Coordinator) ital field and will span many different practices. and malfunctions of deep-learning algorithms, The goal is to help people find often-underutilized examining the double-edged sword of AI tech- Participating Artists: Quayola (IT), Hito Steyerl (DE), Zach tools that give anyone with a computer and the nologies. Works focused on integrated cognition Blas (TR), Jonas Lund (SE), Theresa Reimann-Dubbers internet new ways to express themselves at no (DE), Albert Barqué-Duran (ES), Mario Klingemann (DE), through AI technology suggest possibilities for cost. While many such tools are created, most are Marc Marzenit (ES), YEOM JIhye (KR), PARK Kyungkun extending human sensation through technology. (KR), YANG Minha (KR), KIM Hyungjoong (KR), PARK never promoted or shared beyond small groups, Even heading towards the 22nd century, we don’t earl (KR), LEE Joohaeng (KR), SHIN seungbaek & KIM so these “commercials” will help build new com- yet have a clear formulation or definition of the Yonghoon (KR), TEAMvoid (KR), KAIST Interactive Media munities around them. With Connectors coming human mind. Current AI technologies centre Lab (KR) from multiple age groups, genders, sexual iden- © Michael Salter around human visual perception and hearing, tities, and racial backgrounds, we will forefront and there is a need to develop higher cognition that these tools are for everyone. The videos will technologies for linguistic and circumstantial reside in several online spaces including YouTube judgments as distinguished from those of ani- where they are tagged and link to the tool and any mals. In this respect, the theme of AI technology associated information. Ars Electronica Festival is not about discussing the difference between will be the premiere of COSA Connectors, with a humans and AI or suggesting AI as a replacement daily rollout of the videos grouped into topical for the artist. This exhibition strives to foster playlists and culminating in a livestream conver- discussion about the attitudes of current artis- sation with the Connectors discussing their favor- tic practice in these new media environments, ite tools and taking Live Chat questions about the

on how humans are interacting with technology. series as well as suggestions for future videos. © Chris Coleman © YEOM Jihye Presented works seek out possible common

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN DRESDEN DUBLIN/INT

Deutsches Hygiene-Museum Dresden (DE) Science Gallery Network (Int. — Dublin/Venice/Melbourne/London/Bengaluru/Detroit) Future Foods. Igniting Creativity and Discovery What Will We Eat Tomorrow? where Science and Art Collide The Past, the Present and the Future of Food (in Dresden and beyond) How will virtual reality impact therapy? Where is Science Gallery is the world’s only university network the cloud and who controls it? How could biode- dedicated to public engagement with science and art. The Looking for the perfect picnic spot at this year’s Science Gallery Network consists of leading universities sign improve or destroy our lives? What can stick Ars Electronica Festival? At the garden of united around a singular mission: to ignite creativity and insects teach AI about dance? How can art and Deutsches Hygiene-Museum, German-Speaking discovery where science and art collide. Science Gallery science collaboration inspire climate activism? visitors will find great spots where food brings International is the non-profit, charitable organization With 95% of the universe a mystery, what role catalyzing the growth of the network, providing services, people together. The picnic to which you are all do artists and scientists have in unravelling and tools and resources required to power and expand this invited cannot be eaten, but it does illustrate the unique global collaboration, which now has seven mem- understanding the unknown? The Science Gal- connections and contradictions of the visions bers across four continents: founding institution Trinity lery Garden at the Ars Electronica Festival will of food that are currently under discussion for College Dublin (IE); King’s College London (UK); The Uni- showcase the best of the world’s only university versity of Melbourne (AU); the Indian Institute of Science, tomorrow’s world. Whether you want to watch network dedicated to public engagement with Srishti School of Art Design and Technology, The National historic educational films about dietary sugges- science and art. The Garden will explore trust, Centre for Biological Sciences (IN); Ca’ Foscari University

tions in the 1970s, discuss live with local pol- Jeon spoon (2012) © Jinhyun as Sensorial Stimuli, Candy Volume Tableware of Venice (IT); Michigan State University (US); Erasmus technology, global challenges, arts innovation iticians, farmers and activists, or take a virtual University Medical Center (NL) and Emory University (US). and new forms of digital storytelling, featuring stroll through the Future Foods. What Will We interactive workshops, experimental audio and Eat Tomorrow? exhibition — there’s everything for visual experiences, livestreamed events and a gourmets who like their bites served fresh. Get specially-curated digital archive. Explore Dublin’s your picnic blanket ready to try out this great tech infrastructure through a virtual walking tour spot to discuss: what future would be palatable or experience a VR therapy session; visit exhibi- to you? tions floating in digital space and discuss cultural transformation and new ways of learning. Take a Partner of the Educational Program: Commerzbank Foundation behind-the-scenes look at how show-stopping arts and science exhibits come together. Read, Sandwich, 2014 © Izumi Miyazaki listen and watch content from our global youth community, or just stop by to take a break from passive consumption and get your hands dirty at one of our live workshops. Gallery Network Science of Courtesy

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ○ Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools This Garden is part of the STUDIOTOPIA, OSHub, ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming SySTEM 2020, spaceEU, AILab and STEAM programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN DUBROVNIK/ZAGREB EINDHOVEN

KONTEJNER | bureau of contemporary art praxis (HR) MU Hybrid Art House (NL) Quarantine Worlding Worlds

Over the last few years, the EMAP/EMARE net- Organizer: KONTEJNER | bureau of contemporary art In the beginning… no, let’s not go there. People Participating artists work of media arts organizations have produced praxis have always invented creation myths to account Ainslee Robson Curators: Olga Majcen Linn & Tereza Teklić | KONTEJNER Andrew Thomas Huang a multitude of works dealing with life-science and for the world as they knew it. You could call it Set-up design: William Linn Baum Leahy cybernetics that examine the fragile ecological Artists: Robertina Šebjanić (SI), Gjino Šutić (HR) — aqua_ the ultimate form of storytelling. Today, world- David OReilly equilibrium of life on Earth. A few of these artists forensic, Anna Dumitriu, Alex May (UK) — Archaeabot, ing happens everywhere. From Game of Thrones Ian Cheng find inspiration from scientific discoveries like Tiziano Derme, Daniela Mitterberger (AT) — The Eye of the to post-colonial practices and from VR to algo- Joanie Lemercier archaea, a group of unicellular micro-organisms Other, Tavvi Suisalu (EE) — Waiting for the light, Quimera rithm-driven animation, different worlds offer Kordae Jatafa Henry Rosa (FR/AR/ES) — Trans*Plant: an OncoMouse™ journey, Lady Dangfua believed to be the oldest form of life on Earth. Kat Austin (UK/DE) — Stanger to the Trees, Luana Lojić alternate storylines, scenarios and solutions, Liam Young Other sources of inspiration include the impact (HR) — What is Sound: Alpha Blending whether they happen in the past, the future or in Mehraneh Atashi of pharmaceuticals on life in the water and the Partner organisations: Universal Research Institute UR, a galaxy far, far away. Stephane Borel sonic vision of bats. These artistic explorations Dubrovnik; Art Workshop Lazareti, Dubrovnik The utopian, queer, dystopian, germinating, Soft Bodies (Paula Strunden & John Cruwys) The exhibition is organized as part of EMAP (European Viviane Komati envision future evolution in magical and often ­irreconcilable worlds that MU opened up in the Media Art Platform). Curator: Angelique Spaninks transgressive ways. Supported by: Creative Europe Programme of the exhibition Worlding Worlds address the present Through topics like pollution, interspecies com- ­European Union, Ministry of Culture of the Republic pandemic situation even more poignantly than munication, climate change, the “post-human” of Croatia, City of Zagreb, Government of the Republic we envisioned when we started putting the exhi- body and the Anthropocene, the KONTEJNER of Croatia — Office for Cooperation with NGOs bition together. Worlding Worlds brings together Garden project underlines the need for new val- 13 worldbuilding projects by 13 international art- ues and morals. The project artists are not com- ists. They challenge dominant views, opposing placent or ignoring life, they are creating their them with unexpected options and projecting the own visionary narratives building on discourses space that may be hard to find in society as it of unity rather than division and embracing con- was/is/will be. Worlds are worlding somewhere cepts like “human” and “nature”. out there in virtual reality, or in real life, tangible In the times of COVID-19, KONTEJNER Garden and smellable. When we populate them with our will take place in a beautiful renaissance building, presence, bring them alive with commitment, formerly a quarantine pier in the old Republic of something is (un)bound to happen. Ragusa that protected the city from plague and

cholera. at Ars Electronica, view 2018) (installation Graf © Vanessa AND ALEX MAY ANNA DUMITRIU Wetzer © MU Hanneke Jatafa Henry Earth Father Mother Sky Kordae

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the EMAP programme. ○ Film/Animation ○ Streaming

70 71 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN ESCH-SUR-ALZETTE ESPOO/HELSINKI

European Capital of Culture Esch2022 (LU) Aalto University (FI) A glimpse into the cultural Uncertain Practices capital program Spring 2020 marked a period of enhanced uncer- and followed by live sessions for further dia- tainty all around the world with the COVID-19 logue with the audience. The garden events are Esch2022 — European Capital of Culture ­presents pandemic forcing societies into lockdown. The produced by Aalto Studios at Aalto University. an interactive multimedia experience bringing situation brought up societal and governance Koray Tahiroğlu (FI/TR), Laura Beloff (FI), Andy Best (FI/UK) together users in Linz and Luxembourg and those challenges that were further internalized into individuals’ thinking and their relationships as Marcus Korhonen, Bjarke Aalto online in an opportunity to explore the past and Aalto University — School of Arts, Design and Architecture present of Belval, a former steel production site communities and with the world at large. Being turned into a center of contemporary experimen- uncertain also requires that one be able to cope tation for urban, economic and cultural develop- with doubt, something 2020 took to unusual ment. This installation will connect users across lengths. real and virtual spaces in an immersive experience However, one can also claim that uncertainty featuring the work of visual artist Mary-Audrey is connected to speculative and experimental art practices. Unpredictable and contradictory Ramirez. Translating the fantasy worlds of gaming Ramirez, © Simon Vogel Mary-Audrey culture into artistic explorations, Mary-Audrey thought processes often breed new perspectives Ramirez constructs a universe of soft sculpture and ideas in creative practice. In comparison to creatures, an animal kingdom reflecting our own developments in science and technology that typ- human needs, projections and desires. As part of ically aim to overcome uncertainty by proving a hypothesis either right or wrong, or some design-

the journey through Belval, her installations will Tahiroglu © Koray Al-terity, appear as disruptive interludes contributing to based approaches that aim to find solutions to further blurring the boundaries between fiction predefined problems, experimental art may have and reality, the physical and the digital space. uncertainty itself as its subject matter. Its aim is not necessarily to find a solution to a problem, Esch2022 European Capital of Culture but to speculate about its multiple potentialities Le Fonds Belval Belval, © Emile Hangen Belval, and perspectives. The garden presents three artists within the framework of uncertainty, including studio vis- its, demonstrations, talks and a musical perfor- mance. The presentations by Koray Tahiroğlu,

Laura Beloff and Andy Best will be streamed Beloff © Laura Liquid Matter,

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN ESPOO/HELSINKI ESPOO/HELSINKI

Aalto University (FI) Äänen Lumo (FI), Aalto University (FI), quietSpeakers (FI) Chronicles of an Art and Science remote/displaced

Collaboration remote/displaced allows for an immersive explo- The audience can access the various short experi- ration of a virtualized physical space: Öljysäiliö ences using a wide array of technologies, from VR This audiovisual hybrid art work brings together 468, a vast, decommissioned and repurposed oil goggles, to mobile phones or personal comput- the self-reflections of three scientists who partic- tank in East Helsinki. ers, both remotely and in situ during the festival. ipated in an art and science collaboration dealing Due to its shape and materials, its acoustics are quietSpeaker (Andrea Mancianti and Roberto Fusco) with the use of bio-cellulose for art and design extremely peculiar, with long reverberation times, purposes. Three days before the Covid-19 lock- shimmering echoes and immersive radiating pat- down, the Systems of Representations research terns. In addition, it is an almost magical site for group carried out semi-structured interview ses- a modern sonic ritual due to its status as a relic of sions with the group at their laboratory facilities fossil-fuel culture, its position by the shore, and in Aalto University. In the anecdotal storytelling its nature, in-between a closed industrial space that ensues, professor Orlando Rojas and doc- not meant for humans and a shell open to the sur- toral students Janika Lehtonen and Luiz Greca rounding land- and soundscapes, that constantly talk about their childhood, what inspired them filter and reverberate in its open cavity. to follow careers in science and how the making The project takes the shape of a small collec- of a contribution to sustainability and the good of tion of brief immersive audio-visual visits to this

humankind sustains their work objectives. Their special remote place, exploring ways to listen to Fusco © Roberto narratives are augmented with a combination the encounter between sound, technology, space of illustrations and still photographs related to and landscape, as it emerges like a precarious the topics that emerged during the interviews, ecosystem, where the boundaries between nat-

as well as scientific images created by the Lehtonen and Janika Greca © Luiz microscope, Electron ural and artificial are constantly renegotiated and scientists using an electron microscope as deformed by technology. part of their work. The media used includes an Lily Díaz-Kommonen — interviews, research, video & In between physical and virtual space, the brass editing, Andrea Mancianti — sound recording, inter­active panorama and video posted online, Orlando Rojas — scientist, Janika Lehtonen — scientist instruments, an array of recycled sonic devices, followed by a live (online) discussion with the Luiz Greca — scientist the light, the wind and the sea waves, filtering participants. through the holes on the metallic reverberant surfaces, transform one another. © Andrea Mancianti © Andrea

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ● Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ● Film/Animation ● Streaming ○ Film/Animation ○ Streaming

74 75 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN GALWAY GDAŃSK

Aerial/Sparks and Galway 2020 European Capital of Culture (IE) ŁAŹNIA Contemporary Art Centre (PL) Aerial/Sparks :: Reports on waves Sensory Orders

Our garden concept makes reference to John to ocean space. Participating artists include Ailís Ní The Ars Electronica Garden Gdańsk, hosted as refreshments. artUNBOXING is a part of the Scott Russell’s investigations on waves and its Ríain (IE), Carol Anne Connolly (IE), David Stalling (DE), by ŁAŹNIA Contemporary Art Centre, features artist’s long-term project of exploring the bound- Kennedy Browne (IE), Kevin Barry (IE), Magz Hall (UK) effects on ship constructions. Scott Russell’s Sensory Orders, a project examining the different aries between art and product, consumption and and Robertina Šebjanič (SI). Aerial/Sparks is funded by discovery of the wave of translation becomes a Galway 2020, the Arts Council of Ireland Project Awards orders of sensemaking taking place under our culture. He attempts to spark a conversation on thematic link to the nature of waves both watery and the Marine Institute. (current) conditions of extreme precariousness the situation of art in consumer societies. and sonic and how they impact our connections to and uncertainty. marine nature, distance, technology and empathy. Partner Credits The term orders comes from economics and Curators: Chris Salter and Erik Adigard Galway 2020 European Capital of Culture Aerial/Sparks started its journey by exploring the Marine Institute Ireland political science, and describes how objects, potential of radio communication to reimagine Commissioners of Irish Lights ideologies or thought patterns are organized our relationship with the ocean. Commissioning Áras Éanna Arts Centre, Inis Oírr and structured. According to the economist and artists created work from time spent on the Irish political philosopher Friedrich Hayek (whom we research vessel The RV Celtic Explorer. Each work paraphrase our title from), these orders are “not explores relations between people and places, made by anybody but form themselves.” including the visible and invisible connectors of Twenty-five international artists, researchers/ ocean and landscape. These sonic presentations scientists, designers, architects and scholars col- also ask us how sound and radio communication lectively investigate how the symbolic order of might trigger a deeper sense of empathy for our language and culture, the technological order of

environments and ourselves. As we move into a machines and the organic order of human bodies © Erik Adigard future of uncertain intimacy, how can we grow and natural entities are intertwined with, sense meaningful connections at a distance? Aerial/ and affect each other. Where are we as humans Sparks is a sonic journey that explores the poten- amidst of these orders, some of which we cannot tial of radio communication to reimagine our perceive or know but which have major effects relationship with the ocean. on our lives? Adjunct to our investigations in Sensory Orders Created by artist Louise Manifold (IE) for Galway’s are episodes of Filip Ignatowicz’s #artUNBOXING European Capital of Culture programme, Aerial/Sparks project. These video performances, created spe- is an interdisciplinary art collaboration with the Marine cifically for YouTube and inspired by the unboxing Institute exploring radio connectivity and its relationship Manifold © Louise Bouy, Weather Aerial/Sparks, videos that populate the platform, are offered up © Erik Adigard

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming This Garden is part of the STUDIOTOPIA programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN GIJÓN GRANADA

Laboral Centro de Arte y Creación Industrial (ES) Parque de las Ciencias (ES) Future Life. Pendulum Garden

Interferences, Alterations, Changes. Wave Pendulum In this way, science and art come together to Since the Parque de las Ciencias museum opened promote the importance of acting globally to Our present time, in which everything is con- The exhibition and residency program are part of the in May of 1995, science and art always have achieve equality among people, protect the nected to everything else, is characterized by European Media Art Platform, financed by Creative always gone hand in hand. This link has been planet and ensure prosperity as part of the new Europe Program. Led by Werkleitz Gesellschaft (Halle), the augmented alteration of bodies and iden- present in all the contents and activities orga- sustainable development agenda. the following institutions are part of the platform: tities, the environment, the economy and even Ars Electronica (Linz); Bandits-Mages/Antre-Peaux nized to emphasize that knowledge is unique and the concept of truth. This increasingly vulnera- (Bourges), FACT (Liverpool); Impakt (Utrecht); belongs to our culture as humans. There are no ble and sensitive network of relationships and Kontejner (Zagreb); LABoral Centro de Arte (Gijón); boundaries between science, technology, arts or interdependences means that we are living in an M-cult (Helsinki); Onassis Stegi (Athens); RIXC (Riga); humanities. This year, 2020, we celebrate the WRO Center for Media Art Foundation (Wrocław). 25th anniversary of the Parque de las Ciencias era of constant uncertainty and change. All the Artists: Marco Barotti (IT), Disnovation.org (FR), works related to Future Life engage with these Quimera Rosa (AR/ES/FR), Anna Ridler (UK), and we wanted to celebrate it connecting science systemic disturbances in the established order. Robertina Sebjanic (SI), Gjino Sutic (HR), and visual art and at the same time, disseminat- They address the sustainability of the current Stefan Laxness (UK), María Castellanos & ing the 17 Sustainable Development Goals (SDG). Alberto Valverde (ES) permeable framework for a social and cultural To this end, we designed the artistic installation Curated by: Karin Ohlenschläger fabric, which is more and more damaged, torn or Wave Pendulum. in a fragile balance at its breaking point. The wave pendulum uses the laws of simple pen- The artists in this exhibition work with blood dulum motion to create a display where many and chlorophyll to investigate the connections pendulums of different lengths start swinging at between human and plant life. They use microbial the same time. As they move in and out of sync, cultures, robotic clams and sensors to demon- the pendulums create a sequence of cycling strate the contamination of the oceans; or apply visual wave patterns. Through this interactive art- AI algorithms so that something as innocent as work, people can understand how the harmonic a flower can visualize financial speculation. They motion of the waves can be a source of inspira- also engage with the new icons, practices and tion and that beauty can be created through the virtual devices that define the increasingly polar- laws of physics. Each of the 17 pendulums of dif- ized and radicalized scenarios of online social and ferent lengths has a color which represents one cultural ecosystems. of the 17 SDG. This aims to make society aware Clams, Marco Barotti (IT) Barotti Marco Clams,

of the importance of achieving them by 2030. de las ciencias Parque

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools This Garden is part of the ○ Performance/Concert/Event ○ Experimental tools This Garden is part of the ○ Film/Animation ○ Streaming EMAP, AI LAB and STUDIOTOPIA programme. ○ Film/Animation ○ Streaming spaceEU Partner programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN GRENOBLE HELSINGØR

Komplex KapharnaüM in residency at Hexagone / Atelier Arts Sciences (FR) The Culture Yard (DK) Energy Autonomy — Renewable CLICK Garden Energy — Mobility The predominant vegetation in the CLICK collectiveMemories is a virtual version of the Garden are the existential and ethical dilemmas physical piece memoryMechanics, also ­premiering KompleX KapharnaüM (KxKm) is a French team energy as a limited, thereby precious, resource. that arise when humans are confronted with in January 2021. artificial intelligence. comprised of video makers, musicians, tech- This exercise is not about casting blame, but Production: The Culture Yard / CLICK Works produced by The Culture Yard, MindFuture nicians, writers, performers and makers that about raising awareness of energy consumption. Director: Mikael Fock performs in public space. The town is their play- If energy is limited, what should we use it for? The Foundation, Kapelica Gallery, Quo Artis and AI artist: Cecilie Waagner Falkenstrøm ground, their source of inspiration and their stage. installation incorporates flexible solar panels, memoryMechanics include everything from Visual artist: Carl Emil Carlsen / Sixth Sensor Script: Mathias Raaby Ravn KxKm attempts to make public space scenic and which can be spread throughout the city accord- immersive experiences in the 4D Box hologram Tech: Nicolai von Rosen stage with a live performer and AI interacting experiments with different ways of occupa- ing to its changeable energy needs, to make the Sound design: Yann Coppier tion. It provokes encounters, blurs borders and expansion of various activities and their energy with audiences to online artist talks and activ- Perfomer: Anne Laybourn ities, e.g., a Covid-19 AI battle between Trump re-routes special areas. By presenting the spec- consumption physically visible. Thanks to: AI LAB, The Danish Art Council, tator with choices, Migration — Sunshine Archi- and WHO, where two politically biased AIs will Bikubenfonden, Helsingør Kommune With the support of PRESTIGE, a project funded by challenge each other and the audience about the tecture explores the idea of energy autonomy collectiveMemories is presented by exocollective (Maja the European Union Horizon 2020 Programme while questioning our apparent ease of access “right” interpretation of “reality”. Fagerberg Ranten, Mads Høbye and Troels Andreasen) in (Grant Agreement 761112) The AI stage-performance SH4D0W is an immer- collaboration with I remember (Lise Aagaard Knudsen, to it. To reconsider our relationship with energy With thanks to CEA Liten (Grenoble, FR) for their Karen Eide Bøen) and its consumption, it is interesting to present scientific support. sive 3D production, premiering January 2021. Key elements from the AI performance will be Some of the projects are presented within the European ARTificial intelligence Lab, which is co-funded by the presented in an interactive online experience. Creative Europe Programme of the European Union. Inspired by H.C. Andersen’s fairytale The Shadow it thematizes the shadow of man’s struggle to find himself in a digital world by focusing upon the digital seduction enabled by human-like AI. It is a journey into digital consciousness, where the possibility of personal self-understanding fights against the computer-driven logic of data une architecture au soleil, Jayet © Pierre une architecture

— capitalism. The artwork !brute_force by artist Maja Smrekar, is based on artistic research on a platform for humans, dogs, and AI. Finally, Migration Yard The Culture

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming This Garden is part of the AI LAB programme. ○ Film/Animation ● Streaming This Garden is part of the AI LAB programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN HONG KONG JAKARTA

School of Creative Media, City University of Hong Kong (HK) Media Art Globale (MAG) by Connected Art Platform (CAP) (ID) City in Fusion PRISMA GARDEN

Hong Kong lies at the junction of historical, digital craftsmanship. Value of Values, by Benayoun, Following the success of Media Art Globale a wide range of Indonesian flora. The idea is for cultural, and political tectonic plates. These Mendoza and Klein, is a transactional art project Festival 2019, Mona Liem, the curator-founder of spectators to gain personal insights about their shifting forces trigger a burst of creativity. SCM on the speculation of value, from BCI to block- Connected Art Platform brings Prisma Garden to character from this tailored interactive experi- faculty and artists realize new perspectives on chain. On the Road: Young Media Artists in China, Ars Electronica 2020. ence. this ever-changing landscape. presents 50 installations by 35 artists. In VoV Prisma Garden showcases five distinct Indone- Eight programs — linking life, art, science, and Reification Training for Budding Brain Workers, sian artists whose works depict their restless- Connected Art Platform (CAP), Media Art Globale (MAG), technology — work like magnifying glasses, dis- workshop attendees are invited to create their ness and hope around the current situation, and Prison Art Programs (PAPs), Angki Purbandono (ID), Rubi torting lenses and time telescopes through which VoV through neurodesign, to then propose a ‘rei- Roesli-Biroe (ID), Motionbeast (ID), Naufal Abshar (ID), sets the expectation for spectators to apply the Notanlab (ID) and Viro. to re-think the world we live in. fication’ of their 3D model as an artwork. With an experience and understanding they derive from Hong Kong Escape Views, by MoBen. Haunting introduction by the Dean, Art in Labs will find SCM the artworks. the picturesque 360 panoramas of Hong Kong, faculty staging their latest projects, followed by In the Name of the Leaf, by Angki Purbandono, characters in white protective suits are striving interviews to Media Artists in Hong. Why and How speaks to how diversity of human characters to install CCTV cameras. The virus is in the eye Artworks Feel?, a seminar with key contributors can be reflected on leaves, an inspiration struck of the beholder. to MindSpaces EU and HK. Last but not least, the upon while spending time in Indonesian prison, DïaloG, by M. Benayoun and Refik Anadol, is a Wine Tasting Party will close the event, with all because of cannabis. Purbarndono was “saved” MindSpaces project. As new immigrants, artworks Garden participants bringing their best wine for by art, and created the Prison Art Program. are aliens that don’t understand each other. From a friendly remote-sensory experience. Rubi Roesli is an architect whose work reflects Los Angeles and Hong Kong, we observe their how he feels about the current state of urban behavior, made of artificial consciousness and SCM / CityU spaces. On a similar note, Naufal Abshar also memory. Program Chair: Prof. Maurice Benayoun projects his hope for nature’s return to the city’s Curatorial Management: Ann Mak HK media art shows: WYSIWYG is a retrospective concrete jungle through his paintings. Production: Charlie Yip, NeuroDesign Lab, ACIM, SCM of Jeffrey Shaw’s classic and new artworks, while Thanks to all artists and researchers who contributed A piece by Motionbeast takes us on a tour of an Tamás Waliczky’s Imaginary Cameras revisits (names on related programs), especially: expansive and beautiful tea plantation in West technologies in a non-linear history of the moving Prof Richard W. Allen, Dean of the SCM Java, telling the story of one of Indonesia’s best- image. Leonardo da Vinci: Art & Science. Then & Prof. Jeffrey Shaw, Head of ACIM known natural assets and its incredible journey Now is a tribute to Leonardo, incorporating orig- The project is made possible thanks to the support of: Osage Art Foundation / MindSpaces, S+T+Arts, from mountain to coffee tables in every corner inal drawings and contemporary artworks that Horizon2020, MindSpaces HK / Ludwig Museum / of the world. Notanlab, representing the digitally extend his legacy. Metamorphosis or Confron- Guan Shanyue Art Museum / Indra and Harry Banga savvy Millennials and Zoomers, introduces us to INA Naufal & PAPs Garden, Prisma tation, by Tobias Klein, shows his most recent Gallery / UMAG of HKU

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ● Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN JERUSALEM JOHANNESBURG

Musrara, the Naggar School of Art and Society (IL) Fak’ugesi African Digital Innovation Festival, Johannesburg & Pan-African Creative Finding Amir Exchange (PACE), Bloemfontein (ZA) From Jerusalem to the Judaea Desert, Israel Fak’ugesi Pan-African Garden ­ A Desert Search for the Lost Member of of the group have decided to travel to the desert, Lockdowns have forced communities to go online to artists on the African continent to make inter­ Musrara’s Sonic Art Research Group find Amir and look into the connection between to both create and access art. This has led to new active media on issues of the continent. developments for African artists in a highly net- Fak’ugesi Digital Africa Curator Focus, in 2020 “There has to be a Matrix because ‘things are his insights from this experience and the field worked, global environment. However, the divide Fak’ugesi Festival aims to develop curators, pro- not right, opportunities are missed, something of 3D sound. The trip is documented in a short between those who have access to data and tech- ducers and advocates of African digital and tech- goes wrong all the time’ [...] the Matrix that film enhanced by binaural audio recordings and nology and those who don’t has hindered many nology arts. Following an African curator boot- obfuscates the ’true’ reality that is behind it all. compositions. With the aid of space and sound and become a new barrier. camp, commissions focusing on digital work will Consequently, the problem with the film is that illusions practices, the film Finding Amir With the Fak’ugesi Pan-African Garden is a collaboration of take form. Join curators as they plan and develop. [...] it supposes another ‘real’ reality behind our aid of space and sound illusions practices, we partners, notably Vrystaat Arts Festival, the Uni- everyday reality sustained by the Matrix.” will try to touch on the in-depth questions about Vrystaat Arts Festival, Pan-African Creative Exchange versity of the Free State’s Program for Innovation (PACE), Fak’ugesi African Digital Innovation Festival, (“The Matrix,” Slavoj Žižek) the imagined realities that lie behind the walls of digital and symbolic representation. in Artform Development (PIAD) and Fak’ugesi National Arts Festival (South Africa), Tshimologong Inno- Over the past year the Musrara Sonic Art Research Festival. Aligning with aims to power up Africa’s vation Precinct, University of the Witwatersrand School of Arts, University of the Free State’s Program for Inno- Group has been researching different techniques Musrara, the Naggar School of Art and Society. digital creative resolution, ignite imaginations Lior Pinsky, Eran Sachs, Amir Meir, Eyal Biton, Yogev vation in Artform Development (PIAD), Embassy of the of representing sound and music in 3D spaces, and hardwire local talent, it will include: Freilichman, Amos Peled, Nevo Revivo, Dana Tkatch (IL). Netherlands, The Andrew W. Mellon Foundation, National both physical and virtual, while engaging in the Protagonists / artists: Amir Meir (IL), Batel Dotan (IL), Virtual Black Out: Experiments in the Future of Afrikaans Theatre Initiative. artistic, philosophical and technical questions Lior Pinsky (IL) Eyal Biton (IL), Eran Sachs (IL), Form, developed for the National Arts Festival in that arise from this practice. The group started Yogev Freilichman (IL), Dana Tkatch (IL) collaboration with POPArt & Fak’ugesi Festival. work on an Ambisonic based studio and perfor- Virtual Black Out takes a step into digital “space” mance space for spatial composition to serve making. It engages African scenographers and local artists, but then, in early March, they had digital artists to rethink space, location and time to stop all activities and disperse to their homes for new digital theatre making. Five pieces devel- due to Covid-19. As the country was going into oped in lockdown over two weeks. quarantine, one member of the group, Amir Meir, Pan-African Telematic Art Project (PATAP) a new decided to spend his isolation period in one of the initiative of the Vrystaat Arts Festival through the many caves in the Judean Desert near Jerusalem, Pan-African Creative Exchange (PACE), in part- the very caves that were inhabited by various iso- nership with Fak’ugesi Festival and the Univer- lated ascetic cults, thousands of years ago. Amir sity of the Free State’s Program for Innovation

set off and cut all communication since. Now that © Bat El Dotan Finding Amir, in Artform Development (PIAD). It offers funding Flair 2017, © Images Armstrong, Arts Vrystaat Festival Keith Refuture, the restrictions have been eased, other members

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ● Film/Animation ○ Streaming ● Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN LEIDEN LIEPĀJA

Leiden University (NL) MPLab — Liepāja University Art Research Laboratory (LV) The Step into Space Garden Planting a Resort for Mental Ecology

spaceEU is a European-funded project that fos- on the establishment of a Knowledge Innovation People of Liepāja know very well that a garden and strategies for well-being during the times of ters a young, creative and inclusive European Community (KIC) in the field of space. is essential for keeping the status quo — without change. In the web-based exhibition online vis- space community. spaceEU implements an excit- The Step into Space Garden is a journey of dis- planting a park along the coast, the little sea- itors will be able to explore physical and virtual ing space outreach and education program to covery through the story of space and your part side town would be consumed by sand, wind and gardens planted for self-sustainability, mental spark the interest of young people in STEAM (Sci- in it. The Step into Space Garden brings together water. The roots of trees keep the structure of the exercise and retreat. ence, Technology, Engineering, Arts and Math), space sciences and artists, through exhibitions dunes stable, and people of Liepāja can retreat and to encourage them to consider space-related and participatory activities with a focus on from the everyday struggles and storms in the careers. The project inspires and broadens young projects by and for youth. safe, consistent calm of the garden environment. Liepāja University Art Research Laboratory MPLab (LV) minds, develops a sense of European and global Planting a Resort for Mental Ecology is a response ASTE. Art, Science, Technology, Education (LV) citizenship, and through our shared human rela- to the current overwhelming political, environ- Curator: Anna Priedola tionship with space, fosters long-term partner- mental and economic uncertainty of today. Resid- Artists: Maija Demitere (LV), Krista Dintere (LV), Rogier spaceEU received funding from the European Jupijn (NL), Diana Lelis (LV), Tija Plāce (LV), Andrejs ships between people from different countries Commission’s Horizon 2020 Programme under ing in the coastal resort town of Liepāja, the Poikāns (LV), Andra Strautiņa (LV), Līga Vēliņa (LV), Ieva and cultural backgrounds. spaceEU is working grant agreement nº 821832. artists and researchers of MPLab are exploring Vīksne (LV), Paula Vītola (LV), Spāre Vitola (LV), Milda the fragile structure of mental ecology (Guattari Ziemane (LV) etc. 1989) and developing techno-ecological systems Design: Uldis Hasners, Kaspars Jaudzems © spaceEU project © spaceEU Rambonnet © Liselotte Velina © Liga garden, MPLab © Artūrs garden, MPLab Kalvāns

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ● Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ● Workshop ○ Participatory virtual environments ○ Workshop ● Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming This Garden is part of the spaceEU programme. ○ Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN LIMA LINZ/VALENCIA/BERLIN

Museo de Arte de Lima — MALI, Alta Tecnología Andina — ATA (PE) Re-FREAM CONSORTIUM (INT) Configurations around the Amazon Fashion.Technology.Sustainability.

The Peruvian Garden is an ecosystem structured project, roaming digital manufacturing laborato- Fashion is an ongoing development process, Participating artists: to bring together artistic creators and social ries, seeks to develop new technologies to solve reflecting the mutable zeitgeist of a complex soci- Yokai Studios GmbH, Elisabeth Jayot, Fabio Molinas, Youyang Song, Jef Montes, Ganit Goldstein, Giulia scientists whose projects propose a look at the the main challenges of the world: social inclusion ety; it is the art and the related design discipline Tomasello, witsense team, Julia Koerner, Jessica Smarsch Amazon, a historically relegated geographical and and climate change. A selection of documentaries that most effectively transmit the languages and Re-FREAM is funded by the European Union’s Horizon social space that occupies a vast portion of the and video artworks that collect a detailed record messages of our contemporary culture. Fashion 2020 research and innovation programme in the frame- Peruvian territory. The Amazon region is a crucial of life and events in the Amazon will show the can thus also be a fundamental attitude of any work ofthe S+T+ARTS programme. site for debates central to contemporary life: from dynamics between modernity, tradition and the human to act on the surrounding reality in order the fight for the rights of indigenous peoples and customs of the region. to shape it and engage in “change-making.” the preservation of their ancestral knowledge to The research project Re-FREAM is exploring the the conservation of a vital natural environment Co-curated by Almendra Otta and Sairah Espinoza. interaction between the domains of Fashion, for global survival. Design, Science, Craft and Technology, promot- Artists Olinda Silvano, Lastenia Canayo (Pecón ing a space for co-creation and research, where Quena) and Elena Valera (Bäwan Jisbë), migrants experimental projects will be connecting art- and descendants of the native Shipibo-Konibos, ists with scientists and technologists for better reflect on life in the urban settlement of Canta- human-centered and sustainable solutions. gallo, how they preserve collective Amazonian The Re-FREAM Garden shows the results of 10 memory and the risk of COVID-19 contagion co-creation projects, illustrating the potential © Michael Tzur while living without access to essential resources of combining art with technology, crafting and like sewage, running water, and electric power. sciences. The Re-FREAM Garden also looks at Nancy La Rosa’s work approaches the socio-en- fashion from an uncomfortable perspective and vironmental conflicts derived from the extraction opens up new spheres for sustainability and of common goods in Peru and the power relations diversity with various talks and positions by artists. implied in traditional representations of the Ama- Re-FREAM Partners: zon. Beno Juarez’s Floating Fab Lab Amazonas Hirose © Edi slides in loop, of projection with triple multiple Installation Creative Region Linz & Upper Austria, WEAR IT, AITEX Textile Research Institute, Profactor, Fraunhofer IZM, IED Istituto Europeo di Design, FAT Fashion & Technology, Stratasys, Empa Materials Science and Technology, Haratech Jessica-Smarsch: Constructing Connectivity Constructing Jessica-Smarsch: Plastic Engineering & Solutions, Care Applications, arca

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ● Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ● Film/Animation ○ Streaming ○ Film/Animation ● Streaming This Garden is part of the STARTS programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN LISBON LISBON

Pavilhão do Conhecimento — Ciência Viva (PT) FEMeeting (PT), Cultivamos Cultura (PT), Ionian University (GR), The Sanctuary for Independent Media (US), Leonardo/OLATS (FR) Pavilion of Knowledge Garden FEMeeting 2020 Garden Located in Lisbon, by the Tagus River, Pavilion outcome of the European Union funded astron- of Knowledge — Centro Ciência Viva is an interac- omy education project spaceEU, will be launched Women in Art, Science and Technology tive science and technology museum. Since we simultaneously at spaceEU Garden and at first opened doors in 1999, we aim to inspire and Ars Electronica Lisbon Garden. An additional conference space for the inter­ FEMeeting 2020 Garden is supported by Cultivamos mobilize those who visit us by exploring the world national community, FEMeeting: Women in Art, Cultura. Science and Technology has been created in Mozil- through science and technology. In addition to Rui Agostinho, Faculdade de Ciências da Universidade de FEMeeting offering exciting, high-quality exhibitions in a Lisboa (FCUL) and Instituto de Astrofísica e Ciências do laHubs: FEMeeting 2020 Garden. Inspired by the Marta de Menezes, Cultivamos Cultura (PT) wide variety of topics, we develop professional Espaço (IA) 2018 and 2019 conferences in Portugal and the Dalila Honorato, Ionian University (GR) programs for educators and educational activities structure of FEMeeting WEB 2020, the digital archi- Kathy High, NATURE Lab, a project of The Sanctuary of spaceEU received funding from the European Independent Media, and Rensselaer Polytechnic Institute, that spark curiosity, creativity and critical think- tecture of this new venue reflects the wide range Unions’s Horizon 2020 Framework Programme for Troy NY (US) ing among our visitors, develop their foundational Research and Innovation under grant agreement of interests and experiences of FEMeeting mem- Branda Miller, The Sanctuary for Independent Media and skills and contribute towards the empowerment nº 821832. bers. Launched in 2017, FEMeeting: Women in Art, Rensselaer Polytechnic Institute, Troy NY (US) of citizenship based on scientific knowledge. Science and Technology was driven by the desire Annick Bureaud, Leonardo/OLATS (FR) Ars Electronica Garden Lisbon will take us on a to develop and promote more direct collabora- Pavel Tavares, Cultivamos Cultura (PT) Claudia Figueiredo, Cultivamos Cultura (PT) tion between individuals who identify as women, virtual tour of the Pavilion of Knowledge exhib- Ricardo Guerreiro Campos, Cultivamos Cultura (PT) its. Rui Agostinho, professor in the University independently of their sex. It was orchestrated by Diana Aires, Cultivamos Cultura (PT) of Lisbon’s Department of Science, will explain Portuguese artist Marta de Menezes and scholar how we can deduce the chemical composition of Dalila Honorato, upon realizing that women in the stars from their light. Together with Ana Noronha, fields of Art and Science have an unquestionable he will co-host a live virtual presentation at the presence worldwide. Among the project’s distin- Ars Electronica Lisbon Garden, sparking curiosity guishable objectives are: (a) a strong personal and answering questions about the information support through instant internet communication hidden in starlight. between women doing research (in the broadest Ars Electronica Garden Lisbon with also welcome sense of the term) in art, science and technol- Sarah Petkus’s Noodle Feet, which will build the ogy (b) and the encouragement towards the for- bridge to the spaceEU Garden. mation of local nodes to support research and The spaceEU Toolkit, a ready-to-use digital artistic creation in a way that enables a wide net- collection of space-centered activities and one work of direct communication and trust-building Ars Electronica Lisbon Garden, © Rui Leal Lisbon Garden, Ars Electronica

among them. FE Meeting 2018, © Rapp Regine

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ● Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the spaceEU programme. ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN LIVERPOOL LONDON

FACT (UK) Open Cell (UK) The Living Planet CONTAIN

The multiple crises that have dominated this identities to exist in other speculative forms that Mobile COVID19 Emergency Testing Facilities year have laid bare grave social inequalities and transform and transpose us to the collective CONTAIN a decentralized and open-source magnetic-bead method which insulates Open- the fragility of our relationship with the natural bodies we wish to be with? approach for testing COVID19. OpenCell has Cell from some of the global demand on RNA world. The desire to come together in collective developed mobile COVID19 testing labs that can extraction kits. Another main benefit of Open- response to the climate crisis and racial injustice Expanding on FACT’s year-long exploration of be placed at any location needed. Each container Cell’s project is that it is open-source. Over 150 has been frustrated by the equally pressing need The Living Planet, Ars Electronica Garden Liver- is equipped with 5 liquid handling robots and 2 volunteers worldwide contributed towards the to isolate and contain a disease that is dispro- pool will feature livestream performances, artist qPCR machines and can provide results in as little challenges involved in developing testing capac- portionate in its effects on the most vulnerable conversations, an online interactive fiction game as 5 hours. A single lab can be run by a single ity. The blueprints and protocols are available to in society. How, in this time of separation and where users can explore a visual and textual operator and can process 2,400 tests a day. everyone in form of a living document allowing increasing alienation from one another, can we world created from a conversation between two The testing involves a procedure called reverse people across the world to contribute and repro- use readily available technologies to augment our artists, and exhibition tours from the perspective transcription-quantitative polymerase chain duce the project. perception of ourselves and our realities, and to of non-human species. reaction (RT-qPCR). In short, it involves extract- OpenCell London: Helene Steiner, Kenneth T. Walker, connect with others (both human and non-hu- ing viral RNA from a sample and amplifying it Matthew Donora, Thomas Meany man) in ways that are sensorial and empathic? Supported using public funding by Arts Council England to a measurable level so that it is possible to Worldwide contributors: Anthony Thomas, Manoj Can we unlearn the physical limitations of our and funded by Liverpool City Council. Nathwani, Alexander James Philips, Krishma Ramgoolam, see whether a person is infected with COVID- Kjara S. Pilch, Phil Oberacker, Tomasz Piotr Jurkowski, 19. What differentiates OpenCell’s labs is the Rares Marius Gosman, Aubin Fleiss, Alex Perkins, automated RNA extraction protocol using a Neil MacKenzie, Davide Danovi

Sakeema Crook + Keiken, Mind, Body and Screen 2019 — Created for Jerwood Collaborate!, supported by Jerwood Arts and Arts Council England. Solo dance by Sakeema. © Open Cell © Open Cell

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ● Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ● Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the EMAP programme. ● Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN LONDON LONDON

Media and Arts Technology Centre for Doctoral Training at Queen Mary The Bartlett School of Architecture, University College London (UK) University of London (UK) The London Garden of Heterotopias The Garden of Forking Paths Towards worlds and technologies of care The Garden of Forking Paths showcases seven Organisation Team: Prof. Nick Bryan-Kinns, Professor interactive artworks, demos and performances, of Interaction Design; Jonathan Winfield, Manager for In Technology and the Lifeworld: from garden to Technology and the arts play an integral part and Centre for Doctoral Training in Media and Arts Technol- all the product of current PhD research into earth Don Ihde discusses how life in a mythical hold potential to engender change towards man- ogy; Louise Bryce, PhD student; Sebastian Löbbers, PhD Garden of Eden would not be human life without ifold heterotopias. This year, the Bartlett School Media and Arts Technology. Working with sound, student; Nicole Robson, PhD student; Francesco Soave, image, text, materials, and structure, each artist PhD student; Jianing Zheng, PhD student technology. Things and artifacts make life and of Architecture, along with its partners, centers explores aspects of how we think, sense and act Supported by the EPSRC and AHRC Centre for Doctoral form an integral part of the ontological trinity of its contribution to Ars Electronica around arts when physical and digital worlds collide. Encoun- Training in Media and Arts Technology (EP/L01632X/1) human-technology-world. 2020 has seen turbu- and technologies of care and grace in a Garden In collaboration with Imperial College London, and the lences across the world at a magnitude and in of Heterotopias. Our garden is a possibility space ter an oversized musical instrument, converse RCA Textiles Futures Project 2020, the Royal College varieties that humankind has seldom encoun- for radical thinking and practice, aiming to create with a chatbot about the future of interactive of Art, UK: Jiaxi Li, Loy Chan, Siying Chen, Fang-Yi Chu art, draw with sound, and see life through the (Janie), Feiyang Zhang tered. We are faced with unprecedented chal- an environment of inclusion and inspection. eyes of an Alzheimer’s patient. The online exhi- lenges in an entangled ecological emergency. To bition takes its name from a short story written address climate, health, injustice and inequality, The Bartlett School of Architecture, Alexander Whitley by Jorges Luis Borges in 1941 that is often cited we must radically and immediately take action to Dance Company, Jason Bruges Studio and guests as inspiration for hypertext documents such as preserve the planet’s very existence. web pages that are interconnected and instantly accessed by hyperlinks. The Garden of Forking Paths represents the process of research: follow- ing the threads of existing thought, forking from existing lines of development and creating new pathways between disciplines. We invite you to follow these paths and explore our digital garden. The exhibiting artists are part of the EPSRC+AHRC Media and Arts Technology Centre for Doctoral Training at Queen Mary University of London, UK, which provides a bridge between academic Shivani Hassard & Angela McArthur & Vanessa Pope, research, digital technologies, and ­creative Sundowning, © Shivani Hassard industries. © Richard Stonehouse © Richard © Ash Knotek

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ● Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN LONDON LONDON

Digital Anthropology Lab, London College of Fashion, University of the Arts (UK) MA Interaction Design Communication at the London College of Communication, University of the Arts London (UK) Draping Interfaces Transformation & Transmission Draping Interfaces is an immersive physical/vir- by moving the cameras around. Each room will tual installation that investigates the worlds that appear magnified in a manner that takes influ- This online exhibition showcases 23 new works of These projects were made with support from the London interaction design from students of the MA Inter- College of Communication, University of the Arts London. can appear when we mask or drape the physical ence from early cinema special effects anima- Artists: Zhuqing Xiao (CH), Zhixing Wang (CH), Xizi Pan action Design Communication at the London Col- with the virtual. How do images change when tion. The remote virtual experience will use aug- (CH), Wei Zhang (CH), Ruoxi Ren (CH), Shuai Ma (CH), we zoom in and adjust our focus? What happens mented reality to enhance the view, which will be lege of Communication UAL. These works were Mariana Marangoni (BZ), Junxian Wang (CH), Xingyu Tan when we set the camera in a particular position? submerged in spectacular visuals and engaging all produced during the lockdown of March-May (CH), Chujia Shen (CH), Meitong Yan (CH), Ziyi Wu (CH), Jiawen Zhao (CH), Yu Zhang (CH), Lihua Pan (CH), Jun For the duration of Ars Electronica/Kepler’s Gar- narrative. 2020, and demonstrate the shift from physical to digital practice demanded by this crisis, and Jiang (CH), Qing Yu (CH), Anna Sycheva (RU), Jingyuan dens, the LCF installation will comprise a small Huang (CH), Tianjiao Shao (CH), Jiequn Xu (CH), Yihan Curators: Maria Dada, Ragnar Hrafnkelsson the anxieties and uncertainties that the present number of miniature 50cm2 rooms, each with a Students: Diane Wallinger, Ruisheng Wang, Chongran Lu, Zhou (CH), Xinda Xu (CH) and future held. multidirectional camera installed. The audience Zhiyao Lu, Svetlana Ovsyannikova, Marie Schaller, will be asked to remotely explore these rooms Xinyi Huang, Lijin Zheng, Yafei Liu, Qingyuan Chang During the lockdown, each student in this entirely international cohort had to either fly home sud- denly, or shelter in place somewhere that was still strange and somewhat unknown to many of them. They were disconnected from each other — and from the community of practice they had been building throughout the year. The projects in this garden cover a range of topics, styles, and approaches; from games, to Whispering Kiss, © Shuai Ma Whispering Kiss, interactive films, to machine-learning-enabled websites. What binds them together is that they are all documents of the shift from physical to digital interaction that was demanded of students

© Marie Schaller © Lijin Zhengr who suddenly had to work remotely. However, under the surface of each work is evidence of the particular global anxieties and uncertainties that these artists and designers were working with, creating a compelling historical record of this

unique moment in time. Stranded Data, Zhang of The Deluge © Wei

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN LONG BEACH LOS ANGELES

Behnaz Farahi (US/IR) UCLA ArtSci Center (US) Returning the Gaze Telluric Vibrations

Returning the Gaze is an interactive 3D online language to communicate secret messages by The UCLA ArtSci Center presents Telluric Vibra- scholars, artists and scientists will extend the exhibition that can be viewed on a web browser. It using AI-controlled blinking eyelashes. tions: a festival with an exhibition, workshops network, further fostering diverse education and addresses the notion of the ‘gaze’ and ‘masquer- This hall also displays series of masks featuring and symposium based at the UCLA Mildred E. community. ade’. It displays a series of art projects along with 3D designs developed by designers from Iran, Mathias Botanical Gardens, and on virtual venues Victoria Vesna, Director, UCLA Art Sci Center, Professor, videos of panel discussions with leading voices. Mexico and the United States during the Dig- like Mozilla Hubs, Zoom and YouTube. Tellurian Department of Design Media Arts, UCLA ArtSci Center, This online exhibition consists of a series of ital Futures World Workshop. Viewers are able Vibrations nurtures ideologies both above and UCLA ArtSci Collective, California NanoSystems Institute rooms in which the viewer can move in a linear to interact with each mask and learn from their below ground. Using the model of a plant growing fashion from one room to another. The viewer is stories, while the interaction design of the room both upward into the atmosphere and downward able to change his/her location using shortcuts attempts to unnerve them by giving them the illu- into the soil, this festival simultaneously culti- indicated in the bottom of the page. This platform sion and feeling of being watched by the masks. vates the Earth and the Ether — conceptually and also includes links to online live and pre-recorded physically — grounding technology. This festival Art projects: Krzystof Wodiczko (Harvard GSD), discussions related to the topic. Behnaz Farahi (CSULB, USC), Memo Akten (UCSD), is about expansive network ecologies, creating One of the rooms displays Loro (Them), the latest Lauren Lu McCarthy (UCLA) nodes for interaction that bridge gaps between production by Krzystof Wodiczko, with interactive Organizers: Behnaz Farahi (Curator), Julian Ceipek species, technology, and cultures. We are imag- (Exhibitions/Software Consultant) drones that hover in space alongside video docu- ining new and novel ways of living and joining mentation of it. This work is particularly relevant, together on this unknown planetary journey. The as it uses ‘eyes’ projected onto drones to amplify exhibition will feature work by the ArtSci Collec- Vesna Alien Stardust Signal to Noise 2020 Signal to Alien Stardust Vesna the perspectives of migrants, political refugees tive, an intergenerational of current students, and marginalized citizens, and illustrate the com- recent graduates and renowned practicing artists. plexity of their lives in today’s globalized society. Each activity and artwork is generated around the Another hall displays my latest work, Can the Ecology of Earth and Ether, the “real” and “vir- Subaltern Speak? which is inspired by the his- tual,” and looks closely at their imbrications. Site torical masks worn by women from southern specific installations and performances, designed Iran. These masks were developed during Por- to be presented online using live video and AR, tuguese colonial rule, as a way of protecting the will be showcased at the Botanical Gardens. The wearer from the gaze of slave masters looking for garden will not function as a backdrop, but as an pretty women. This project is a commentary on integrated, collaborative environment. The sym-

how women might be able to develop their own Behnaz Farahi © Speak, Can the Subaltern posium, keynote lectures and panels featuring Maru Garcia, Re-media+ion

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ● Participatory virtual environments ● Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN LVIV MELBOURNE

Center for Urban History of East-Central Europe (UA) Experimenta (AU) Future from the past: The Experimenta Garden imaginations on the margins A Drone Opera (2015 — 2020) The ideas behind A Drone Opera formed in 2014, that we are often distracted by the bright shiny The Lviv region (former Austrian Galicia), which attempted to build a universal socialist future, when artist Matthew Sleeth saw footage of US lights, and are worried about the wrong things” is currently located in the very western part of and important objects of this future from the past drone strikes in the Middle East circulating online. (Sleeth 2015) have been further accelerated by Ukraine, for a long time belonged to various remain in conjunction with the neglect of current This coincided with his participation in a fleeting this global pandemic. states and empires. In the 20th century it had rural life. community of underground drone racers, meeting A Drone Opera / by Matthew Sleeth a dramatic history, being a part of the Habsburg in deserted Melbourne suburban shopping centre - Center for Urban History (Lviv, Ukraine), Bohdan Producer: Kate Richards / Executive producer: Jonathan Empire, the interwar Polish republic, the Soviet carparks. From these starting points, a project Union, and finally Ukraine. It suffered a mas- Shumylovych, Oles Makhanets, Taras Nazaruk, Parsons / Writers: Matthew Sleeth, Kate Richards / Com- Viktoria Panas, Mariana Mazurak (all UA) was conceived to explore society’s drift towards poser and librettist: Susan Frykberg / Laser Set Designer: sive loss of the local Jewish population, while - Lviv Astronomical Observatory (narrator Dr. Stepan the acceptance of total surveillance, an increased Robin Fox / Sound Designer: Philip Samartzis / Lighting Ukrainians and Poles were resettled and Soviet- Apunevych) presence of military systems in non-military set- Designer: Bosco Shaw / Cinematographer: David McKinnar ized. Lviv (former Lwow or Lemberg) was turned - The Center for Space Research and Communication tings, and our fear and fetishization of new tech- Soprano: Judith Dodsworth / Countertenor: Hamish Gould (part of the State Space Agency of Ukraine) into a big Soviet industrial town, and many peo- / Bass-Baritone: Paul Hughes - Films: Orest Bachmaha, Viktor Kyzyma, Oleh Chornyi, nologies. As producing partner, Experimenta and ple from the region moved to the city to build a Hennadiy Khmaruk, Oleksiy Mikriukov Artistic Director Jonathan Parsons have collab- Commissioned by Experimenta, Australia’s preeminent socialist urban modernity. Thus, the population orated with Matthew to develop and present a media arts organisation of the region changed, and the number of those performance, a film, and an installation over a involved in agriculture decreased from 5 mil- five-year period. This iterative model traversed lion people in 1939 to 800 thousand in the late different presentation conventions and audi- 1960s. Becoming urbanites meant receiving flats ences, using hybrid practices that incorporate and employment in the city, while villages were drone operators, opera singers, moving image, left over for the elderly people. At the same time, laser light and sound. At the heart of the work during the Cold War, Soviets built immense infra- is an artist’s exploration into the growing inter- structural objects around these decaying villages, dependence between the analogue and digital which aimed at defence and space research. This worlds. Since the initial 2015 performance pre- relation between decaying villages/nature in the sentation, the work’s key themes have come Lviv region and objects of Soviet space research, into sharp relief. “Our hubris with technology; which themselves are reminiscent of archaeo- constant government surveillance; and the idea logical sites, triggered our ideas for the garden.

Ironically, the Soviet empire that ruled the region © bohdan film in a village, Screening

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ● Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ● Film/Animation ● Streaming ● Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN MELBOURNE MELBOURNE

Melbourne School of Design (MSD), The University of Melbourne (AU) Studio Matthew Gardiner (AU) Past and Future Utopia Beside the Nibelungen bridge &

Located on the indigenous land of the Dja Dja Project developed by Dr. Rochus Urban Hinkel, in collab- Oribokit: Gardening for Robots Wurrung, in rural Victoria, Australia, the two oration with NExT Lab, MSD, The University of Melbourne (AU); Uwe Rieger, The University of Auckland (NZ); projects present descriptions, stories and expe- Matthew Gardiner (AU) generations of Oribotics. His artworks portray an

riences from pre-settlement, colonial and uto- Voices of Country / Artists: Dr. Rochus Urban Hinkel (AU); Neben der Nibelungenbrucke/ altered future where folding forms the fundamen- pian post-colonial perspectives. Both projects in collaboration with MSD, NExT Lab, Melissa Iraheta and Beside the Nibelungen bridge tal fabric of life, and his artistic process explores are intertwined and establish a relationship to a Tony Yu; Tony Yu, Lia Bach, and Michael Fragstein, Büro Wherever you are today and whenever you may Folding as Code for Matter, creating works that rural site in country Victoria to rethink its roles, Achter April; and Dr. Hélène Frichot. have sat or stood somewhere, late late late at exhibit material intelligence. Oribokit™ is a A Utopian Post-Colonial Future — Victoria, Australia night, in Linz, this work is for you, this work invites democratic artwork, designed to open his field use and meaning. The projects imagine the site’s 2027 / Artists: Students of the Master of Architecture, connections with the past, its potential future, Melbourne School of Design, The University of Melbourne, you use our AR gadgets to place a Wurststand of expertise to a general audience through an and open up a set of questions: Can we relate led by Dr. Rochus Urban Hinkel (AU); in collaboration with (sausage stand) in your town, or place a Leberkäs art-kit medium. Beside the Nibelungen Bridge, to and learn from the pre-colonial history of first Uwe Rieger (NZ) arc/sec Lab, The University of Auckland; Semmel or some other Austrian delicacy on your similar to Gardiner’s Synthetic Memetic piece with support by the NExT Lab, Melissa Iraheta and Tony peoples’ relation to Country? Can we critique plate at home. Share a post and write a short from 2013, deals with a complex social topic by Yu, Tom Frauenfelder, (AU); Büro Achter April, (DE); and reflect on the European colonization of the Brett Leavy, Virtual Songlines, (AU). memory of a day (or night) at an Ars Electronica practicing critical humor. Gardiner is currently longest continuing culture in the world? Can we Festival. the key researcher in Robotic Origami at the imagine a post-colonial future that overcomes the Ars Electronica Futurelab. Matthew Gardiner (AU) , Ars Electronica Futurelab neoliberal concept of land as commodity? Could Matthew Gardiner. Workshops hosted by Experimenta. Oribokit: Gardening for Robots a reintroduction of an indigenous biodiversity, a Oribokit: Gardening for Robots introduces a new return to local food production, a rethinking of artscience kit by Ars Electronica Futurelab artist community and its legal frameworks, be a uto- & researcher Matthew Gardiner. The kit allows pian response to the challenges we face? Will

Victoria, 2027 Australia you to start your own robotic origami garden a return to a holistic understanding of Country — at home. Partipants in the oribokit™ workshops allow us to develop a deeper understanding of it are guided to fold, assemble and start their own that results in a sustainable response to climate oribotic garden. In the event of lockdown, work- change, develops an alternative to the logic of shops will be conducted online. continuous growth, and reflects on the extinc- tion of species and the industrialization of food Matthew Gardiner pioneered the convergence production? We invite our audience to emerge of origami, folding and robotics through his themselves in Virtual Reality worlds of past and Future Post-Colonial An Utopian Gardiner ©Matthew alt, wurst das ist future utopias.

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ● Online participatory tools ○ Workshop ● Participatory virtual environments ● Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ○ On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ● Experimental tools ● Film/Animation ○ Streaming ○ Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN MILAN MONTREAL

MEET Digital Culture Center (IT) PHI (CA) Hybridizing life experiences Emergence & Convergence

​The MEET Garden in Milan explores the inter- a focus on audience engagement and interaction Emergence & Convergence brings together works to re-assess our values and priorities as a global connections between Nature, Technology and through different tools such as live polling plat- that contemplate the space between the self, community? How has it contributed to a renewed Humanity. It will dig into the hybridization forms, a social newsroom and a multi-layered digital technology, the built environment, and connection with nature? The works in this exhibi- between physical and virtual experiences, to the strategy of promotion and social cast to bring the natural world. It focuses on the effects of tion propose complex explorations of a future in point of advocating a “bio-based society.” MEET’s people together and disseminate ideas. confinement on our collective consciousness. which the fusion of nature and technology could garden will also explore the production and How has this experience of hardship forced us become a new ecology. emerging use of VR and XR in the performing arts. Dance the distance Dance the distance is a 30 minutes live-guided Meet the Media Guru with William Myers tour through a virtual dance studio. A hybrid Meet the Media Guru is a lecture held by William format of vocal and virtual interaction through Myers at MEET’s headquarters in Milan. The event VR dance. The experience will involve 20 onsite will be live-streamed and a video will be recorded participants at MEET ‘s immersive room (dancers, for on-demand viewing. The 30-minute talk and choreographers, VR designers, students, artistic 10min Q&A session will also take place on-site researchers, artist, artistic directors) + 20 virtual for an invitation-only audience at MEET’s immer- participants connected via Mozilla Hub. sive room. The Meet the Media Guru format has Curator: Grazia Mattei

Meet the media guru with Myers, © MEET with Myers, Meet the media guru Myers © William with Myers, Meet the media guru Alifeinflowers, © Myriam Ménard Alifeinflowers,

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the STARTS ○ Film/Animation ● Streaming

104 105 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN MONTREAL MOSCOW

ISEA2020 (CA) HSE ART AND DESIGN SCHOOL (RU) Why Sentience? HSE Garden Pavilion

Since last August when we established the difference — social-economic-cultural — reso- HSE Garden Pavilion includes 3 different sections, as weather, time of day, location, speed and type ISEA2020 theme of Why Sentience?, life on Earth nates through the sentient world. The virus — a created by 3 HSE University Departments: Mod- of movement and even the emotions of a per- has been dramatically transformed. Our belief in 120-160 nm in diameter entity that is invisible ern art, Sound art & Sound design, Animation. former. concepts like proximity, justice, equality, indeed, to our human senses and considered neither It all begins with Get Out, a 3D game by Elena HSE Animation department represents works of the very concept of the future itself, has been living nor dead but ontologically somewhere in Vlasova. The world of Get out happily greets us at young female directors. The authors created their radically uprooted. As cultural organizations between — is thus perversely a great teacher and its gates, promising a journey through a utopian, gardens in a very diverse way: from a remake of worldwide scramble to adapt, the ISEA2020 provides us lessons on how the modern splitting positive space. However, as we interact with its a classical Russian fairytale in a setting of envi- team has decided to reimagine the event for the up of the sentient and inanimate worlds increas- inhabitants, the story turns to be different. In the ronmental disaster by Polina Nevozhay to an inti- anytime/anyplace zone of digital space and to ingly makes no sense. world of “Get Out,” nature refuses to be vulnera- mate story about a mysterious digital garden by transform it into an online experience. But we ble and actively defends itself with a surrealistic Varvara Fomicheva. have also realized that there is no need to adjust ISEA’s mission aims to foster interdisciplinary mix of natural objects and Internet artifacts. Those 3 sections, all dedicated to issues of mod- the theme to make it more “responsive” to our academic discourse and exchange among cultur- The trip through HSE Garden Pavilion continues ern environments, both online and offline, current conditions. Despite their almost cata- ally diverse organizations and individuals working with the Non-Player Piano sound performance, represent works of students of HSE art and design clysmic impact on the political-economic-so- with art, science and technology. As we write, created in collaboration with Mubert AI App. school, the leading Russian university. cial-cultural-ecological fabric of the world, the ISEA2020 should have already passed into his- Non-Player Piano will be performed on a Moscow triumvirate forces of the coronavirus pandemic, tory. The new digital space of ISEA2020 will link River landscape and include live music improvisa- Artists: Elena Vlasova (RU), Varvara Fomicheva (RU), Daria Ivanova (RU), Nastya Panina (RU), Maria Maximova (RU), its disastrous economic consequences, as well as the local community in Montreal with the inter- tions with the implementation of neural network Elena Charobay (RU), Stas Sharifullin (RU), Andriesh Gan- systemic racial injustice have now acutely ampli- national one beyond so that we can collectively “trained” to analyze a surrounding context, such drabur (RU), Alexey Ryumin (RU), Irina Ineshina (RU) fied ISEA2020s question: Why Sentience? These rethink the form of such an event. The new plat- conditions sharpen the need to stop, pause and form will also allow us to examine close up these re-examine what it means to be sentient, “the new and, at the same time, ongoing historical set ability to feel or perceive.” They help us reformu- of conditions; conditions that demand a response late our notions of what the world is with us and if we are to live in the coming (post)-pandemic beyond us. They give us a front seat perspective world. on the corporeal and ecological entanglements

between power and knowledge, animals and Text: Christine Ross — McGill University (CA), Christopher humans, machines and environment, oppression Salter — Concordia University/Hexagram (CA). Organiser: and liberation. They pointedly demonstrate that Montreal Digital Spring (Printemps numérique). © HSE ART AND DESIGN SCHOOL © HSE ART AND DESIGN SCHOOL © HSE ART

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ● Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN MOSCOW NANTES

Helena Nikonole (RU), Olga Vad (RU) le lieu unique (FR) Datasets vs Mindsets The Woman-Machine

Post-Soviet Explorations of the Digital Control Society The Woman-Machine is a two-day event on the Gueye on afrocyberfeminism, Sophie Sakka on main stage of le lieu unique. In response to La therapeutic robots and autism, Vanessa Nurock A huge part of the processes around us are digi- and offline formats, such as new approaches to Mettrie (and Kraftwerk) le lieu unique invites art- on AI and ethics, among others. Performers will tized, becoming datasets that can be analyzed by webcasting and experimental web-interfaces, ists, scientists and performers to discuss the rela- be Golem Mécanique and Félicia Atkinson. a variety of dynamic algorithms which don’t only which create brand-new user experiences for tionship between AIs and gender, robots and fem- recognize and process incoming information, but online visitors. inism, machine learning and the world after the also identify and predict patterns in its changes at This project is funded within the framework of the Euro- Curators: Helena Nikonole and Olga Vad pandemic. There will be a 2-day event with talks pean ARTificial Intelligence Lab, which is co-funded by speeds and scales inaccessible to human percep- Exhibition participants: Anastasia Alekhina, Medina and performances. Speakers include Oulimata the Creative Europe Programme of the European Union. tion. Digitization ranks among the most important Bazargali, Aristarkh Chernyshev, Ellina Genadievna, national prerogatives of many post-Soviet coun- Daria Goffman, Uliana Golub, Valentin Fetisov, Egor Kraft, tries. In its own way,the local context transforms Evgeny Kruglov, Anvar Musrepov, Kate Pryanik, Sasha Serechenko, Vita Shakhnovich, Andrey Smirnov, the understanding and implementation of digital Ekaterina Trubina, Where Dogs Run, ::vtol::. tools. These algorithms, often based on machine Conference speakers: Dmitry Bulatov, Lev Manovich, Alla learning, have a number of limitations, and the Mitrofanova Helena Nikonole, Daria Parkhomenko, Yanina so-called biases — which they learned from the Prudenko, Alexey Shulgin, Vadim Smakhtin, Olga Vad data on which they were trained — form feedback Performance program: Julia Borovaya, Katarina Melik-Ovsepian, Maria Molokova, Nikita Prudnikov, loops that influence what takes place in the phys- Anastasia Tolchneva, Tundra, Kira Weinshtein, ::vtol::. ical world, and create opportunities for various Special thanks to Electromuseum (Moscow) and to forms of so-called algorithmic control. This proj- Aristarkh Chernyshev and Inna Astafieva ect is dedicated to the artistic exploration of the boundaries between digital and physical spaces, and the spectrum of phenomena and conse- quences of the implementations of algorithmic le lieu unique, Félicia Atkinson, © Shelter Atkinson, Félicia le lieu unique, Sophie Sakka le lieu unique, regulation and control tools in the post-Soviet context. The project aims to present several gen- erations of new media artists from post-Soviet countries in the international context. It includes an exhibition, a one-day conference and a one-

day performance program using innovative forms Uli Golub (UA) in Space, Babushka of representation and interaction between online

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ● Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming This Garden is part of the AI LAB programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN NEWCASTLE NICOSIA

University of Newcastle (AU), FASTLab (AU), Art Thinking Australia (AU) RISE ITICA (CY) Novocastrian 2050: WADS (↑ ← → ↓)

Ecosystem Reboot. WADS speaks of plurality and plentifulness, of Curatorial team: Demetris Shammas, Myrto Aristidou, conjoining principles, disciplines and possibili- Emiddio Vasquez Hadjilyra, Constantinos Miltiadis. Artists: Anastasia Dolitsay, Angeliki Koutsodimitropoulou, A feature of the inaugural BIOMES art-science ties. As a virtual space compiled of local artists, it Despina Rangou, Doros Polydorou, Elena Savvidou, Faysal exhibition in Newcastle, Australia. sets out to explore the potential of digital hubs as Mroueh, Ibrahim Ince, Irini Khenkin, Kleanthis Rousos, grounds of artistic and technological co-creation. Lina Protopapa, Maria Andreou, Marietta Mavrokordatou, Ars Electronica Newcastle Garden is a feature the ethos from Ars Electronica, BIOMES uses Art It imagines a garden of commoning where art- Marina Ashioti, Marina Kassianidou, Marinos Koutsomichalis, happening at the centre of the inaugural BIOMES Thinking to inspire and create a new “Handlungs- Nico Stephou, Panagiotis Mina, Pandelis Diamantides, ists pollinate the digital by employing a technique Exhibition in Newcastle, Australia. In September raum” (space for action) accessible to all citizens Peter Eramian, Raissa Angeli, Stelios Ilchouk. derived from gardening: namely, grafting. 2020, the site of Newcastle’s Old Train Station past, present and future. A team of experts from The RISE ITICA WADS garden is supported by the Aware of the effects of such techniques over Austrian Embassy Nicosia. will be hosting BIOMES, a series of installations, the FASTLab (Centre of Applied Chaos) created a nature, some of the qualities found in graft- workshops, performances and presentations as virtual 360 garden as a way to bring the remote ing — rarely witnessed elsewhere — play a central part of Australian National Biodiversity month. audience into this unique happening. role in WADS. Gardening in the digital, a form of Between September 9 and 13, BIOMES will focus Biomes was created and led by the University of Newcas- immaterial labour, allows artists to cultivate and on the overarching theme of Ecology that spans tle’s School of Environmental and Life Sciences in partner- critically reinterpret their practice for the web. both the natural and artificial world. The unique ship with the School of Creative Industries’, FASTLab and Grafting entails delicate care and a commitment perspectives from Australia’s largest regional the School of Psychology. University of Newcastle and Ars Electronica Futurelab Alumni Kristefan Minski (Art to longevity. Each chimeric mien explores the coastal community combined with the many Thinking Australia) joined the collaboration as both feedback between the virtual and the physical, international flavours from across globe will consultant and participating artist. locale and átopos, politics and the paradox of a inspire a new discourse for the future. BIOMES labour that grows by consumption. The collec- is an art science collaboration between the Uni- tively grafted landscape invites visitors to indulge versity of Newcastle’s Faculty of Science and the in each experience separately and in respect to Faculty of Education and Arts. Its objective is to one another. provide an engaging and immersive experience to These interconnected ecologies contribute to empower the local community to take their own ‘unnatural’ mergings, propagating and spreading action and to see their region as a living, sustain- an alternate digital common. A nice framework able and diverse community. BIOMES addresses for worldbuilding. One to grow, to work, to flour- the human issues causing today’s climate emer- ish and to wither in. gency by celebrating stories that bring biodiver- Angeli Mina, © Panagiotis Raissa prus, Hawaii

sity back from the brink of extinction. Drawing on Minski 360, © Kristefan Virtual Prototyping, FASTLab Garden

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN OSLOFJORD PARIS

Art in Society Research Group and FeLT project, Oslo Metropolitan University (NO) Google Arts & Culture Lab (FR) in collaboration with SENT (NO) Oslofjord Ecologies Blue Field Trip Heartbeat of the Earth Art has always been a medium to convey com- the National Oceanic and Atmospheric Admin- The Oslofjord Garden is wet and blue, a video as cultural practices and interactions with the plex subjects and address the challenges we face. istration (NOAA) and the World Meteorological essay that travels the fjord, encompassing site environment and its populations. The Oslofjord For many of us, the term “climate data” conjures Organization, to create four interactive art pieces specific footage as well as artists’ contributions, is nature, economy, biology, materiality, culture up images of complicated graphs and charts, about our climate. They’ve addressed the topics archival material and conversations with artists and history as well as future plans and chal- but artists are explaining it through a new lens. of declining ocean life, food consumption, melting and scientists. The Oslofjord runs from the Skag- lenges. This work is based on contributions to the On World Environment Day, the United Nations glaciers and rising sea levels. erak sea north of Denmark through narrow straits Oslofjord Ecologies artistic research platform and Framework Convention on Climate Change (UNF- We hope Heartbeat of the Earth helps every- and sometimes shallow waters towards Norway’s the newly published book, Oslofjord Ecologies. CCC) and the Google Arts & Culture Lab residency one learn more about the complex issues we’ll most densely populated area of Viken (the Bay) Artistic Research on Environmental and Social program announced Heartbeat of the Earth, a encounter due to a changing climate and enable and the city of Oslo. It shows the landscapes of Sustainability. series of experimental artworks inspired by cli- communication to explore possible pathways and the inner parts above and beneath the surface, mate data. solutions. as well as exchanges with people and encounters Five artists — Fabian Oefner, Cristina Tarquini, Google Arts & Culture with marine species. Mostly overlooked by tour- Kristin Bergaust, concept, cameras and directionAlexis Laurie Frick, Pekka Niittyvirta, Timo Aho — used Parra Pucho, production assistanceOslofjord Ecologies Fabian Oefner (CH), Cristina Tarquini (IT), key findings from a landmark UN IPCC report ists who want to experience Norwegian fjords, Travel ws facilitated by the research project FeLT (Futures Laurie Frick (US), Pekka Niittyvirta (FN), Timo Aho (FN) the Oslofjord contains ecological connections and of Living Technologies), OsloMet and SENT initiative and data from scientific institutions, including UNFCCC challenges that are specific and tangible, as well (site, ecology, nature, technology). © Kristin Bergaus © Kristin Heartbeat the Earth of Google Arts & Culture, Tarquini Acidifying Cristina Ocean,

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ● Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN PARIS PARIS

Leonardo/Olats (FR), Quo Artis (ES), Cultivamos Cultura (PT) IRCAM Institute for Research and Coordination in Acoustics/Music (FR) The Traveling Plant Garden Challenging the limits of AI for the The Veridical Travel Around the World of a True Imaginary Plant next generation of co-creative tools The Traveling Plant project will trace the voyage she may expect to discover and experience in her The Institute for Research and Coordination of Music and Artificial Intelligence organized by of a plant — real, artificial or fictive — around the voyage, and what and whom she may encounter. in Acoustics/Music is one of the largest pub- Elaine Chew (FR), and discussions with Dorien world, as she tells her story and the stories of lic research centers dedicated to musical cre- Herremans (BE) and Philippe Esling (FR); the other plants and creatures (human and non-hu- Initiated by Annick Bureaud, Leonardo/Olats organised ation and scientific research. After 42 years, it panel Musical Generatives — a discussion panel mans) she encounters. It is the umbrella title for in partnership and collaboration with: Tatiana Kourochkina, Quo Artis; Marta de Menezes, remains a pioneering and world-leading venue In the framework of the Forum Vertigo 2020; a series of artworks and events held around the Cultivamos Cultura; Claudia Schnugg, independent where artistic vision converges with scientific and “Little Etudes for Piano” — a performance by Elaine world at different places and times, under the curator; Robertina Šebjanič, artist, Leonardo/Olats is technological innovation. Following this tradition Chew (FR) a series of short piano pieces based on direction of local participating organizations and supported by the Daniel and Nina Carasso Foundation of combining scientific and artistic approaches, cardiac electrical anomalies; “AI Creative Agents: international curators. the IRCAM AIxMusic garden will display multi- The Man I Love” — a video featuring the Improtek The travel is structured around a common basis disciplinary views of both the scientific and cre- project and interpreted by Hervé Sellin (FR) and and rules with common outputs, though each ative research carried out on AI. It will feature Remi Fox (FR); and the performance of the Three participating organization is free to interpret the six events: Can we do the same with less — AI in Ladies Project by artist Georges Bloch featuring project, choose the artist(s) and the format of the 64 Kb, a hands-on workshop for the AIxMusic the DYCI2Lib technology at Manifeste 2020. event(s) it sees fit. As such, it is open to all kinds Hackathon by Philippe Esling (FR) introducing of aesthetics and artistic mediums. IRCAM — CNRS UMR 9912 STMS — Sorbonne Université techniques for lightweight AI and demonstration The AIxMusic Festival, a S+T+ARTS flagship event, is The Traveling Plant project aims to avoid anthro- of embedded technologies; the panel Fronteers organised by Ars Electronica and the European Commission. pomorphism and anthropocentrism to present the plant’s perspective about herself and her sur- roundings. It will unfold, slowly, over two years, in line with the plant’s rhythms. The project’s format will encompass and span the entire continuum of online events and physical spaces, with every possible in-between, hybrid proposition. During Ars Electronica Festival 2020, The Travel- ing Plant will be preparing its journey by compil- ing a collective Preparatory Log Book. In a hosting

spirit, people will be invited to tell the plant what Tavares © Pavel © Philippe Barbosa

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ● Streaming This Garden is part of the STARTS programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN PAROS PLYMOUTH

MADE Group (GR) Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth (UK), Eduardo Reck Miranda (BR/UK) Random Rhetoric Biocomputer Rhythms Random Rhetoric conjoins democracy with Epi- for future collaborations in Paros — often curus’ swerve (παρέκκλιση parénklisis; Latin: described as the Marble Island — with the Depart- Biocomputer Rhythms is a piece of music for piano instruments. The reason to prepare the piano clinamen); a notion that describes the slight devi- ment of Sculpture from the Athens School of Fine with electromagnets and percussion, composed with electromagnets stems from the composer´s ation and randomness of atoms from their ordi- Arts and the Paros ANNEX, the Municipality of with an innovative biocomputer built using elec- desire to give it a dual identity characterized nary pathways. At age 35, Epicurus (341–270 BC) Paros, the ancient quarry of Marathi and its local tronic components grown out of biological mate- by standard piano sounds — produced by the bought a garden outside Athens as the final site ecosystem, including schools explorring inno- rial. The composer is interested in harnessing bio- hammers striking the strings — and by some- for the school where he would teach philosophy vative techniques for cutting, sculpting and 3D logical organisms as components of computing what other-worldly sounds produced by the until his death. Melanitis’ works on democracy printing marble with thermoplastic materials. architectures for new kinds of creative artificial biocomputer. refer to a geometrization of oratory and its pro- intelligence. His ICCMR research team invented a cesses through the randomization of information. Composer: Eduardo Reck Miranda Christiana Kazakou, Curator MADE Group, Regional biological processor made with living tissue from Political speech and philosophy emerging from Assistant Engineer: Edward Braund STARTS Centers an organism known as Physarum polycephalum. Interdisciplinary Centre for Computer Music Research machines and computers render humans as mere Ioannis Melanitis, Artist, Assistant Professor at the They baptized this processor as the ‘biomemristor’.­ (ICCMR), University of Plymouth ‘viewers’ and envisage new roles in society. He ­Athens School of Fine Arts, Department of Sculpture Physarum polycephalum is found in decaying anticipates that even official, state structures for The AIxMusic Festival, a S+T+ARTS flagship event, is leaves and tree bark. Its intracellular activity future dialectics may derive from self-program- organised by Ars Electronica and the European Commission. produces fluctuating levels of electricity which ming computers. can be relayed through its body, which prompts it Random Rhetoric is a digital environment that to behave like a memristor. A memristor is a rel- acts as a metaphor of the Epicurean garden, a atively unknown electronic component which is dynamic place where logos, speech and dialectics not widely available yet: a resistor with memory. are remodeled through machines. It serves as The memristor is exciting because its behaviour is the main platform where interactive code-based comparable to that of biological neurons. works like “The Oratory Machine” (a computer The team built biomemristors cased in small programmed in AppleScript) participate in a phil- 3D-printed mini-Petri dishes and developed an osophical dialogue with the public, remodeling interface for a group of biomemristors to read the art of rhetoric by, in some cases, the pretense and output signals. They baptised this ­system of intelligent dialogue. as the ’biocomputer’. Electromagnets are In the context of the STARTS Regional Centers in positioned inside the piano to vibrate its strings. Greece, MADE — with the support of the ­Cultural Some electromagnets vibrate percussion Association of Archilochus — sets the foundations Melanitis © Ioannis — University ICCMR of Plymouth

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming This Garden is part of the STARTS programme. ○ Film/Animation ○ Streaming This Garden is part of the STARTS programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN PORTO POTSDAM

FNDMT (PT) Filmuniversity Babelsberg (DE), IFAI — Institute for Art and Innovation (DE) Welcome to the City of Makers Transmedia Storytelling

Welcome to the city of makers and thinkers, ­contributors and the author of the report, Livia Camilla Plastic Ocean Plan where high-tech meets traditional craftmanship! Pinent, Head of Research at ThePowerHouse. For Can the expertise of filmmaking and art creation socio-economic, cultural and ecological chal- While in the Porto Garden, we will show you the second part of our program, we bring Porto help solve current ecological problems? lenges, strong images and value-based visions around our city, introduce you to the makers and closer to you. Local artists, artisans, makers, cre- We believe in the co-creation of new narratives are required to steer towards a positive future. shakers of the region, talk about material sci- ators and technologists will greet you via video to achieve global climate goals. By blending art, In the 2-hour workshop Co-imaginations and ence, ethics and AI in space travel, ethics and and give you insight into their work and creative film, scientific and artistic research we estab- Co-production for Tomorrow’s World organized how important “made in EU” is now. spaces. Keep an eye out for our Meet the Mak- lish new formats for appropriate ways of thinking by Filmuniversity Babelsberg Konrad Wolf and To kick-off, we have partnered with ThePower- ers series, where you can find out more about and doing to tackle current challenges. Global the Institute for Art and Innovation, the future is House, who will release their new future report how the artists of Porto use technology in their problems must be solved collectively including visualized and designed in a co-productive way. exclusively to the audience at Ars Electronica. work. The video has been kindly sponsored by Citizen Power. Backed up by science, we under- By melting our creative minds, we’ll find relevant In recent months we have interviewed technol- ScaleUp Porto. The third part of our program will stand the mediums of film and art as avant-garde, scenarios for a world we want to live in. ogists, artists and thoughts leaders about our go further in asking the big questions and sharing mind-opening, and as a multiplier for new ideas. “new stage of presence.” We dared to ask –what’s their stories, through a series of roundtables with Idea and project management: Angelica Böhm Transmedia Storytelling; Camilla Plastic Ocean next? At the Porto Garden, you’ll be meeting all international and Porto-based though leaders. Co-author: Liane Porthun Plan is a web exhibition based at Film University 3-D artist & quill-painter: Jan Schneider the contributors for an online FAQ session. Babelsberg Konrad Wolf. During the Ars Elec- Wearable art: Antoaneta Tica There will be a digital roundtable with the FNDMT, ThePowerHouse, ScaleUp Porto Philosophical consulting: Stefan Winter tronica festival, the third room will be opened. Filmuni summer school: Julie Halten With a mix of artistic imagination and fanta- The project is based at Film University Babelsberg sy-setting about environmental problems, the Konrad Wolf, Germany project is backed by scientific expertise from the Partner: Alfred Wegener Institute (AWI), Helmholtz renowned Alfred Wegener Institute Helmholtz Center for Polar and Marine Research, Bernhard Diekmann, Lars Gutow Centre for Polar and Marine Research. The short Kunst & Innovation partner: The Universal Sea by the story about Camilla guides us through the exhibi- Institute for Art and Innovation, Nicole Loeser tion. Based on scientific collaboration, numerous S.T.ARTs, DAAD, ZEM Brandenburgisches Zentrum für artists from different parts of the world create Medienwissenschaften CO-IMAGINATIONS and CO-PRODUCTIONS for works like painting, concept art, sculpture, 360 TOMORROW’S WORLD degree movie and VR experience. The zone that Concept and workshop facilitation: Angelica Böhm, enables life and makes the planet unique is thin- Nicole Loeser © Hack for good Porto good © Hack for ner than previously thought. Due to the complex 3D artist & quill-painter: Jan Schneider

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ● Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming This Garden is part of the STARTS programme.

118 119 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN PRAGUE RIGA/KARLSRUHE

UMPRUM, Academy of Arts, Architecture and Design in Prague (CZ) RIXC Center for Art and Science, Riga (LV) in collaboration with Virtual SYNTHESIZING / DISTANCING BioSensing Project Group at BioDesign Lab HfG in Karlsruhe (DE) Isolation, Ecology and Democratic Space PLA(N)Tform The PLA(N)Tform is a virtual organism in which and engage in Home-Sick Farming activities that The Platform Photosynthetic Landscapes both natural and artificial actors grow and evolve manifest in plant-growing and sharing, and cook- The crisis in recent months is forcing us to rethink Crop production is currently undergoing many together, in the darkness of an infinite space of ing performances. matters that we took for granted. Among them is changes. The current trend is to play for time: to potentialities. The PLA(N)Tform grows in Deleu- the notion of public space as an open platform for meet the high requirements for the quality and zian and Guattarian “rhizomatic” proliferations Riga: RIXC Center for Art and Science / Curators and meeting people and exchanging ideas, a space quantity of production as quickly as possible, in while it is nourished by luminous seeds, each Artists: Rasa Smite, Raitis Smits, Ivo Taurins, Platons without borders that is suddenly confronted with order to respond to the increased consumption of Buravickis, Kristaps Biters, Lauris Smits and RIXC containing their own “naturally artificial” worlds. Karlsruhe: Virtual BioSensing Project Group at BioDesign security rules. At the same time, Ars Electronica a fast-growing company. The technologisation of By juxtaposing the different realities in a hetero- Lab HfG Karlsruhe / Artists: Kira Ellen Adams, Julia Ihls, is moving from the closed underground spaces of the natural element is being negatively associated geneous plurality, the PLA(N)Tform is understood Alejandra Miranda Janus, Margrethe Emilie Kühle, Jung POSTCITY to Kepler Gardens, a public space that to the loss of the “natural” at the expense of the as a speculative experiment of Latour’s “terres- Eun Lee, Isabella Münnich, Eleanora Pfanz, Christina Vinke, Carmen Westermeier must cope with new demands, while maintain- “technological”. But what happens if these ele- trial co-existence.” Epistemological and aesthetic PLA(N)Tform Garden Riga-Karlsruhe project is curated ing the extant values of a democratic space. The ments support each other? One of the ambitions practices, far removed from hierarchical mecha- by Rasa Smite in relation to BioSensing and Virtualities thematic installation, in the gardens of a private of Photosynthetic Landscapes is to present algae nisms, merge into a space-time of planthropo- seminars at HfG Karlsruhe, and Forest Lab project by gallery in Prague, deals with distancing in pub- as photosynthetic organism against greenery loss cene” — Natasha’s Myers envisioned gardens for RIXC in Riga. The project is taking place in the framework lic spaces. The Platform, a public meeting and in the urban environment, with its related growth plant-people “involution.” The PLA(N)Tform at of RIXC’s project “Green Revisited — Encountering Emerg- distancing space, will be created on 30 square in CO2 and impact on diminished quality of public ing Naturecultures”, co-funded by EU program Creative Ars Electronica will evolve into a virtual garden Europe and Latvian State Cultural Capital Foundation. meters. It generates new textures that should space. The spaces in Kepler’s gardens and their connecting the live video concert from the Forest The project is produced by RIXC Riga-Karlsruhe, 2020. manipulate the visitors into the new demands flora contrast with the technologically grounded Garden Greenhouse in Riga and Virtual BioSens- being made on public spaces. The project as a Photosynthetic Landscapes prototype: a modu- ing exhibition in Karlsruhe, featuring the artworks whole is conceived as an experiment, in which lar, organic system that pushes the boundaries that eco-systematically explore the forests and targeted data collection during the festival will of thinking about the penetration of nature and underwater world creating Reversed gardens, be assessed and processed as a separate case technology in the context of an environmental- Forest stories and Floating woodlands; grow tele- study on the topic of public space texture. There ly-oriented spatial installation. The prototype will graph-plants and mimosa to explore devices for will be an instant access to the installation via a be a modification of the installation presented at tracking and visualizing the plant-movement; use project website and a live camera broadcasting the Landscape Festival 2020 in the courtyard of photogrammetry to create virtual Nature nostal- the experiment in real time. the Nevan Contempo Gallery. gia environments in the times of isolation; make

Shota Tsikoliya, Imro Vaško, Veronika Miškovičová, sensing experiments to explore human-plant kin- PLA(N)Tform Karlsruhe, © Carmen Westermeier PLA(N)Tform Karlsruhe, David Kovařík ship; investigate herbal tea making traditions,

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN SAN SEBASTIÁN SANTIAGO DE CHILE

Tabakalera (ES) PRISMA: Art, Science, Technology (CL) Tabakalera presents Art and Science­ SPACE / EARTH / WATER TRIAD

Art meets Science in an immersive installation. Building on their series about official and unof- This Garden presents the SPACE / EARTH / WATER of the current climate crisis. These axes will be Tabakalera and Ars Electronica kick off their col- ficial man-made objects in space, Quadrature’s TRIAD. The three conceptual axes embody the exhibited and interconnected in an online plat- laboration and present a new artwork inspired by video installation focuses on exploring new ways main components of Chilean geography and the form called Xirius, where they will become nodes the known and unknown aspects of space explo- of encountering space. Speculation meets imag- wide diversity of its natural terrain from north in an open network especially designed to share ration. The artist collective Quadrature meet ination and opens new perspectives. For the art- to south. They comprise projects developed by data, experiences, and other forms of conversa- Astronomer Silvia Bonoli and Raul Angulo and ist, the input from their collaborators from the artists together with scientists, live-streamed tion between artists, scientists, and institutions. collaborate on a new artwork. With the support field of astronomy will be crucial for finding new performances, excursions, videos, and virtual of citizen science initiatives, the artists and sci- visual narratives. Exploring San Sebastián and environments at the crossroads of arts, science PRISMA: General coordinator: Valentina Serrati entists transform scientific data into an extraor- also including a local community as well as issues and technology. With the aim of exploring creative Curatorship: Jazmín Adler dinary artistic installation that allows visitors to that matter to the citizens of the city is another imaginaries that challenge traditional boundaries Web art design: Claudia Müller enter a space of wonder and astonishment. This pillar of their work. among these fields of knowledge, all of them out- Scientific coordinator: Alejandro Jofré project is a work in progress and the final result line alternative ways of living, thinking and feeling PRISMA’s Institutions and Partners: Pontifical Catholic University of Chile. Department of Arts. can be seen in September at Tabakalera as well within our ever-changing environment. Quadrature (DE), Siblia Bonoli (IT), Raul Angulo (CL), Atacama Desert Center (CDA) as online at the Ars Electronica Festival. Donostia International Physics Center (ES) SPACE / EARTH / WATER share concerns about University of Chile. Department of Engineering. Center the development of sustainability and resilience for Mathematical Modeling (CMM). Space and Planetary strategies through a transdisciplinary practice Exploration Laboratory (SPEL) that may bridge the gap between artistic creation, Magallanes University. Institute of Ecology and Biodiversity (IEB) scientific research, and technological media. MIT Media Lab Space Exploration Initiative The first axis, SPACE, revolves around astrobiol- SPACE: Cosmoecology (Luis Guzmán — CL). Immersive ogy and planetary exploration, considering the Experience / performative talk with artist & researcher correlations between the evolution of life and Nicole L’Huillier (CL) EARTH: Nebula (Mauricio Lacrampette — CL). its deep link with terrestrial gravity. The second Documentary / live streamed, site specific performance one, EARTH, focuses on the Chilean desert, char- in Alto Patache. acterized by extreme climate, industrial inter- WATER: Hexa (Claudia Müller & Matías Labbé — CL). vention, archaeological remains, and scientific Immersive sound and visual environment / live guided investigation around energetic resources and tour to Omora Park in Puerto Williams This project is a cooperation between the Ministerio sustainability. The third axis, WATER, addresses Kanpoaldea, © Tabakalera Kanpoaldea, Irudia, Tabakalera © de las Culturas, las Artes y el Patrimonio, the Ministerio the Schiaparelli Glacier in southern Patagonia, de Relaciones Exteriores | Gobierno de Chile and where water plays a crucial role in the context Ars Electronica

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN SANTIAGO DE CHILE SÃO LUIS

Museo del Hongo (CL) Cultivamos Cultura (PT) A Fungus Garden Acquired Immunity @ The semantic universe of the word garden is often Curator: Juan Ferrer related to a designed outdoor space, either for Artists: Juan Ferrer, Iván Navarro, José Bidegain, Futuro Cultivamos Cultura Fósil, Sebastián Calfuqueo, Alexandra Mabes, Nicolás leisure or the cultivation of edible plants. In the Oyarce, Ana Rosa Ibáñez. The Cultivamos Cultura Garden is a space where ­Cultivamos Cultura experience. Guided tours of same idealized imagery, the fungi kingdom is rep- Collaborators: Courtney Smith, Especie Axial, Hueso the local and the global merge. We perceive it as the exhibition by curator Marta de Menezes, art- resented through bright and colorful mushrooms, Records, Fundación Fungi, Sala de máquinas. a living organism, with different levels of organi- ist Adam Zaretsky and immunologist Luis Graça like the famous Amanita muscaria. But what is zation at distinct scales: cells, tissues, organs, will provide different paths within the real and the role of fungi in a garden? Invisible organisms This project is a cooperation between the Ministerio de las Culturas, las Artes y el Patrimonio, the Ministerio systems. At its core, a community of artists/ virtual spaces. The activities will include guided acting underneath the soil, carrying information de Relaciones Exteriores | Gobierno de Chile and Ars researchers/makers, our residents, keep Cul- tours of the local natural park landscape and local through the ecosystem, digesting dead matter; Electronica. tivamos Cultura alive. On the next level are the culture, along with micro-documentaries related fungi are among the most active components interlaced exchanges with the local community to the possibilities of laboratory and fieldwork in in a garden’s sustainability. However, it is esti- of human and non-human members in São Luis art and biology. Through this visit, we aim to show mated that we only know 5% of the world’s fun- (Alentejo, Portugal), in the largest natural park representative artworks and the context that led gal biodiversity. In times in which human activity of the country. Beyond that, connections are to their conception. is altering our entire planet, learning from our strengthened through links that reach the whole natural recyclers will definitely contribute to a world. more sustainable future for humanity. How would We created a virtual Cultivamos Cultura space a fungus-only garden look like? There are some Cultivamos Cultura has the support of Município de in Mozilla Hubs to match the physical space (an Odemira, Direcção Geral das Artes | Ministério da Cultura, known fungus gardens made by termites and old farm with three connected barns) where we and Naturarte Turismo Rural. ants. These insects cultivate fungal mycelium host our yearly exhibition. Acquired Immunity inside their underground galleries in order to Participating authors: shows artworks arising from our residencies and feed from it. Both organisms, insect and fungus, Artists: Adam Zaretsky (US/PT), Alan Tod (FR/PT), guests. The translation of the physical space and create a symbiosis that maintains the balance. Antonio Caramelo (PT), Amy Youngs (US), Carolyn its artworks into our hub involves rethinking the Angleton (US), Carla Rebelo (PT), Dalila Honorato (PT/GR), A Fungus Garden is a digital exhibition which materiality of the work and whether we can live Erich Berger (AT/FI), Hege Tapio (NO), Kathy High (US), invites you to know more about the importance and interact with each other and produce creative Ken Rinaldo (US), Kira O’Reilly (IE/FI), Lena Lee (MX), of fungi and their marginality, being often asso- Maria Manuela Lopes (PT), Mark Lipton (CA), Marta de outcomes in a virtual/real interface. At Acquired ciated with death. Through a multimedia online Menezes (PT), Monica Garcia (PT), Paulo Bernardino Immunity, we bring together a collection of experience around the fungi kingdom, A Fungus Bastos (PT), Pavel Tavares (BR/PT), Robertina Sebjanic (SI), works and a series of local activities showing the Till Boverman (AT/FI) Garden approaches human decay as a symbol of

mystery and beauty, noticing the invisible webs Mena © Pacual Vigilantes, in which we are embedded.

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ● Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN SEOUL SILICON VALLEY

Korea National University of Arts (KR) The Grid (US/EU), Gray Area (US), Codame (US), ZERO1 (US), MUTEK.SF (US), EUNIC Silicon Valley (US), EUNIC Washington DC (US), EUNIC New York (US), Garden of Third Life Ars Electronica AIxMusic Festival (AT), STARTS, European Commission (EU), Center for Humane Technology (US), Salesforce (US) At the end of the 20th century, South Korean a practical and metaphoric concept that imagines cities demonstrated two distinct characteristics. future human ecology, while simultaneously under- The Grid: Exposure — Art + Tech + First, the cities were transformed into a sea of taking a serious reflection on technology. apartment complexes. Second, high-speed Inter- Project director: Dongyeon Lee (KR) Policy Days net and digital technology became ubiquitous, Hosted by Korea National University of Arts Organized by Art Collider which resulted in the creation of unique online Born out of a global crisis, The Grid: Exposure — Art AI have put within reach a world where art can Communication and Project Management: + Tech + Policy Days explores innovative ways to be created and performed entirely by algorithms. communities. The former focuses on the collec- Dayoung Lee (KR), Hana Yun (KR) tive and is a physical space, whereas the latter Third Garden > Participating artists: Arrddon (KR), reconnect the world in our current state of isola- In a series of panels, workshops, and live perfor- is more fragmented and virtual. Several cities Hyun Cho (KR), Eunkyo Kang (KR), DUDO WAVE tion. Exposure is The Grid’s new annual festival mances, The Grid: Exposure — Art + Tech + Policy of the world are similarly structured; however, (Duruphil+DoiDoi) (KR), WONWOORI (KR), Dongjoon Park format, an art + tech expo in San Francisco. It Days will explore the blurry line separating the (KR), KARTS Industry-Academy Cooperation Foundation showcases the vast creative potential of Silicon artist from the machine by comparing different South Korean cities in particular seem to nat- Education Program (Faculty: Chung-Yean Cho (KR), urally balance the tangible world with its more Youngju Kim (KR)). Valley by exposing the global community to its creative approaches in Europe and Silicon Valley. flexible virtual counterpart. We dream of a city of Design: pa-i-ka ideas. Technologies are not mere artifacts, but Exposure highlights the vast creative potential of the future––an epic Smart City where these two Web Development of Third Garden: Loopntale Studio dynamic systems entwined with culture and the SF Bay Area and its leading art + tech organi- (Youngju Kim (KR) & Hoyoun Cho (KR)), Mingyu Kim (KR), policy. Mobilizing artists, technologists, and zations (Gray Area, Codame, ZERO1, MUTEK.SF) spaces harmoniously coexist. The Garden of Third Jinoon Choi (KR) policymakers from around the world, Exposure while engaging in a dialogue with the local tech Life is a practical and metaphorical concept that Garden of Third Life explores what life is like during this pandemic. Faculty: Hyehyun Cheon (KR), Chungyean Cho (KR), reimagines interdisciplinary and international industry (OpenAI, Google Magenta, Salesforce, If the “First Life” is the physical world we live Martin Honzik(AT), Hyunseok Kang (KR), Bongryeol Kim (KR), collaboration to overcome deadlock and siloed etc.) on the topics of AI and creativity, reimagining Buhmsoon Park (KR), Soyo Lee (KR), Dongyeon Lee (KR), in and the “Second Life” is the virtual, synthetic thinking. It extends the conversation to leading tech regulation, and the creation of new digital Kwangseok Lee (KR), Eunseon Park (KR), Hanbyul Shim (KR), global policymakers tasked with regulating tech- communities around the world. world, the “Third Life” is where both elements Wonjoon Yoo (KR) exist together, and through their interaction, Two Hands > Art Director: Kyunghwa Yu (KR) nology. Through art, panels, talks and workshops, Curatorial Co-Directors: Clara Blume and Vanessa Chang Visual Director: Pungyoun Cho (KR) it works towards shaping technological develop- Festival team: Hannah Angely, Juliette Donadieu, Robert disintegrate barriers by adding virtual aspects O’Driscoll, Anna Maria Di Giorgio, Mary Ellyn Johnson, Projection Mapping: Seongouk Kim (KR) to real life and real aspects to the virtual one, ment for the benefit of all. This year’s Exposure Algance Mahdjoub, Noemie Njangiru, Michael Treacy, Musicians: Janggu & Chulhyungeum_Kyung-Hwa Yu (KR), deploys the visual phenomenon of Blurring Bor- Martin Rauchbauer, Nicola Ruffo, Nadine Schach, Bettina and facilitate living within that intersection. The JC Curve_contrabass (KR), Jeehyun Kim_keyboard, sound Wodianka / Taming Tech — Center for Humane Technology, Third Life concept emphasizes that embracing design (KR), Bumtae Park_gut (KR), Sunghoon Park_gut (KR) ders as an artistic strategy. It creates a platform STARTS, EU Delegation — Washington DC / AIxMusic Festi- Seoul Garden > Creator: Aisha Noomi Stief (DE) for technology to make itself vulnerable to artistic ecology and technology is no longer optional, but val — OpenAI, Google Magenta, Ars Electronica Futurelab Assistant Researcher: Subin Lee (KR) an inevitable part of our lives, a part of our fate. practices rooted in humanism that expose the The AIxMusic Festival, a S+T+ARTS flagship event, is Web Gardening > Presenters: Daechan Heo (KR), essence of our digital reality. Recent advances in organised by Ars Electronica and the European Commission. In response, Korea National University of Arts Youngju Kim (KR), Eunji Kim (KR), WONWOORI (KR), presents the theme Garden of Third Life which is Guhong Min (KR), Dongjoon Park (KR)

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ● Participatory virtual environments ● Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ○ On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming This Garden is part of the STARTS programme.

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ARS ELECTRONICA GARDEN SLOVENIA

Maja Smrekar (SI) Kersnikova Institute [Kapelica Gallery + Rampa + BioTehna + Vivarium] (SI), Projekt Atol Institute (SI), Ljudmila Society (SI), Aksioma Institute (SI), Cona Institute (SI), !brute_force University of Nova Gorica — School of Arts (SI), Youth Cultural Centre Maribor (SI), Youth Centre Velenje (SI), LokalPatriot Novo mesto (SI) Responding to the coronavirus pandemic, the companion species, reclaiming agency emanates !brute_force project focuses on the future of mar- through corpo-reality that awakens the necessity konS Garden for Contemporary ket-driven diagnostic wearables and AI-based to be actively involved in decision making around health monitoring technologies. A human and the ethical implications of monitoring technol- Investigative Art and Tactical Media dog performer climb through an installation of ogy. Such power is especially imperative for civil platforms and empty spaces. Both wear Electro- society in the zeitgeist of political and vending Nine partners –contemporary investigative art changing world. The konS Platform is an open cardiograph ECG/EKG diagnostic wearables, used implications that bring us to erosion of trust in the producers (NGOs), tactical media, public cultural and evolving structure, and other communities in for the medical monitoring of chronic heart and ever more developing global context of disaster centers and an art academy, all based in Slove- cities across Slovenia and neighboring countries respiratory conditions. These are gathered within capitalism. nia — joined efforts in the konS Platform for Con- are invited to join the network. a Neural Network, whose goal is to synchronize Artist: Maja Smrekar (SI) temporary Investigative Art to establish an active the heartbeat of the human with that of the dog. Partners: Kersnikova Institute (Kapelica Gallery + Rampa Produced by: Quo Artis Foundation (ES) research, production and presentation / dissem- + BioTehna + Vivarium), Projekt Atol Institute, Ljudmila On the one hand, the installation represents the Co-produced by: The Culture Yard / CLICK Festival (DK), ination network to create improved conditions Society, Aksioma Institute, Cona Institute (all from canine and human bodies under surveillance Kapelica Gallery / Kersnikova Institute (SI) for research, development and the realization of Ljubljana), University of Nova Gorica — School of Arts, capitalism, as abstractions within total corpo- Project partner: Ars Electronica Linz (AT) Youth Cultural Centre Maribor, Youth Centre Velenje, contemporary investigative art projects. konS rate knowledge and control of bodily function. On This project is part of the European ARTificial Intelligence LokalPatriot Novo mesto — SI Lab and is supported by the Creative Europe Program Platform for Contemporary Investigative Art aims the other, the installation also suggests paths of konS Platform for Contemporary Investigative Art is of the European Union, Danish Art Council, Ministry of to establish a network of three discrete types of a project chosen on the public call for the selection of resistance, by imagining the coexistence of the Culture of the Republic of Slovenia, Ministry of Public capacity-building hubs across Slovenia: (konS the operations “Network of Investigative Art and Culture two species in a state of joint physical activity. Administration of the Republic of Slovenia, Municipality of PARK), wherein various audiences can be empow- Centres”. The investment is co-financed by the Republic By forging alliances between the human and her Ljubljana — Department for Culture. of Slovenia and by the European Regional Development ered in the critical use of new technologies, (konS Fund of the European Union. NOVA) for nationwide research laboratories that enable the production of contemporary investiga- tive art and (konS PRAKSA) for speculative inno- vations to translate far-sighted artistic ideas and inventions into innovations for the advancement of European social environments. The network is striving to connect communities, knowledge institutions, research centers and the economy on a systemic level, such that all stakeholders are

interested in co-creating a sustainable, safer and at Ljudmila, Matjaž Blaž Photo: What shape the sound is , Workshop Rušt Pavlica, PARK, konS more ethical future in a dynamic and constantly

GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content brute force, © Aljaž Rudolf, Dongwook Jang, Maja Smrekar © Aljaž Rudolf, force, brute ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the AI LAB programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN ST. PETERSBURG ST. STEFAN OB STAINZ

KURFUTURELAB (RU) Stieglerhaus (AT) Pangardenia Augenschein

Fragility (uncertainty) and self-sufficiency (auton- of the paths (subtheme) and finalize the festival The eye has always played a vital role in human superstition and possession. It is a symbol of omy) are distinctive features of today’s pandemic with a closing movie of Pangardenia. history, whether as organ of vision or as pivotal enlightenment, the sciences and progress as well life in lockdown. Our lives grow from the middle cultural symbol in the arts across time. In digital as fantasies of omnipotence and conspiracy the- (Kafka) and we no longer have strong roots in KURFUTURELAB / ITMO University / The Faculty of liberal and new media art especially, it becomes a “third ories. Metaphorically, it stands for the all-seeing arts and sciences (SPb) in collaboration with Bard College the soil, but we are not immaterial cloud-based eye,” that is, the camera that translates electro- eye of God as well as surveillance technologies, (NY) ”Curatorial studies” master program / Laboratory of creatures either. This is a life between matter New Media, New Stage of Alexandrinsky Theatre magnetic stimuli into light perceptions that give for vigilance and focusing on the basics, as well and data. Timothy Morton says that “informa- shape and colour, not unlike the sensory organ as the beauty of the visible world. tion dump mode” is a way for us not to relive the itself. experience of (traumatic) data. To relive means to The Ars Electronica Garden St. Stefan ob Stainz Augenschein. Sylvia Eckermann (AT). integrate data back into personal experience, and takes us on a journey to Sylvia Eckermann’s pub- LED Mesh Screen: LDDE Lighting Ideas Vienna (AT). Production: Bela Eckermann (AT) thus integrate it into the “collective experience,” lic art project Augenschein. Augenschein takes expanding to a planetary scale (J. Lovelock). Pan- the eye as a symbol for how our society relates gardenia is an aspiration to relive through data, to vision and visualisation, in its encouraging and and an ambition to re-connect the virtual and the more dangerous aspects. real. Pangardenia, a natural chimera, embraces Though seeing is the paradigmatic sense of our Panic sensibility of the wild and guarded gath- time, it is not an objective process. It is influ- ering of the garden and gradina, elemental and enced by our beliefs and ideas, conventions and structural, growing and digital. What can bear morals, norms and objectives, interests and sup- fruit in these liminal gardens? The Pangardenia pressions, memories and fantasies. At the same project is made up of four paths: Parniki (artists time, the eye and the sense of seeing are vital for at their homes; indoor gardening; autonomous the socio-cultural process we call individualisa- existence and any other types of “capsuled” life), tion. The “power of the eye” embodies a host of Abandoned gardens (semi-closed universities different senses, the meanings between which and ways for growing knowledge and art in lock- can be far apart, as with the curiosity to see the down), Wandering gardens (a site-specific artistic world (“Schaulust” in German), the visualisations boat-trip in collaboration with boat-drones), and of science and technology, and the reveries and Post(non)human gardens (finding new types of revelations of one’s innermost thoughts. The eye life forms, combining both human and non-hu- represents consciousness and insight, provi-

man agents). Each day we will walk down one © Anna Prilutckaia Gardens, Postnonhuman dence and embracing love, but also voyeurism, Eckermann © Sylvia

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN STAVANGER / ÅS STOCKHOLM

NOBA — Norwegian Bioart Arena (NO) KTH Royal Institute of Technology (SE) Path Less Trodden KTH AIxMusic Garden

​Watch our premiere of Humanoil, a recorded per- a live video chat that expands on the practices The KTH AIxMusic Garden features three events formance by artist Hege Tapio, followed by the of Hege Tapio and NOBA. Taking the project focused on AI and music: a video-recorded per- introduction of NOBA — Norwegian Bioart Arena. Humanoil and its themes as a starting point, we formance, a panel, and a machine folk music NOBA is the hub for the expanded field of bioart in will engage live and digital audiences in discus- school. The performance features folk music gen- Norway, and exists to bridge the gap between sions around art / science collaborations. erated by AI. The panel Music as Experience in an artists and scientists working on ecology, ­biology, age of Artificial Intelligence and Computational technology, activism and art. View NOBA΄s Creativity features six composers who have used facilities and geographical placement by pre-re- NOBA — Norwegian Bioart Arena with AI for music creation, reflecting on the process. corded video, featuring its indoor and outdoor FAEN-Female Artistic Experiments Norway The machine folk music school is an interactive Eva Bakkeslett spaces. We present people the artists and Centre for Genomic Gastronomy music learning session during which an AI-gen- researchers NOBA is working with to commu- The Dinghy AiR erated folk tune is taught in the aural tradition. nicate its attitude and projects. Our topics of Steven Barstow The garden is organized by Bob L. T. Sturm (KTH interest include: alternative ways of human Marita Isobel Solberg and Trond Ansten Associate Professor of Computer Science). For Elind Rui Blix / non-human coexistence; concepts and lan- the past five years, Sturm has been building, guage surrounding multitude, multiple iden- learning from and collaborating with AI systems tities, pluriversal narratives and diversity, trained on transcriptions of traditional music. and the encounter between modern scientific These systems are trained on tens of thousands and old craft methods as ways to materially of transcriptions of traditional dance music from engage with the local environment. By includ- Ireland and Scandinavia, and effectively generate ing prerecorded videos from our network in the an unlimited supply of new tunes imitating tradi- long and sparsely populated country of Nor- tional ones. This work provides the foundation way, we present their voices, locations and for a five-year project commencing in Oct 2020, practices. Watch reports from nomadic, artistic MUSAiC: Music at the Frontiers of Artificial Cre-

research vessels and permaculture havens, to ativity and Criticism (ERC-2019-COG No. 864189) Sturm © Carla Townsend close-knit human-bacterial relations unfold- ing beyond the Arctic Circle. We then move into KTH Royal Institute of Technology (SE) The AIxMusic Festival, a S+T+ARTS flagship event, FAEN Intersected waterbodies by Anne Cecilie Lie, © Juliane Scütz Anne Cecilie Lie, by waterbodies Intersected FAEN Artists: Bob L. T. Sturm (US), Daniel Näsström (SE), is organised by Ars Electronica and the European Jennifer Walshe (IE), Robert Rowe (US), Oded Ben-Tal Commission. (IL); Shelly Knotts (UK); Artemi-Maria Gioti (GR)

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming This Garden is part of the STARTS programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN SYDNEY TAIPEI

Tactical Space Lab (AU) Virtual and Physical Media Integration Association of Taiwan (TW) Fertile Methodologies Kaleidoscope of Taiwan

Tactical Space Lab is a research initiative focusing to remote work, with the artists co-presenting The COVID-19 pandemic didn’t only have a huge talents and high-quality production capacity in on the intersection of art and technology. We are in VR spaces and through video-conferencing, impact on our social life, it also changed the way its XR field. committed to expanding the diversity of stories screen-sharing, live-stream demos, 360-video people view art in a fundamental manner. Con- and voices represented through new technologies and Mozilla Hubs. temporary art needs support from new technol- Artists: Chang Chao-Ching, Cheng Wei-Hao, Chiu Li-Wei, via collaborative projects and educational pro- Our Sydney Garden is an open showcase of not ogies across fields to break through the limit of Gaëlle Mourre, He Wei-Ting, Hsiao Ya-Chuan, Hsu Chih-Yen, Hsu Hung-Yuan, Hu Chin-Hsiang, grams across all ages, with the aim of ‘demystify- only the outcomes produced by our artists — 3D viewing art from actual venues. Huang Hsin-Chien, John Hsu, Kao Yi-Chun, Lai Kuan-Yuan, ing’ VR, not just for artists, but for the wider com- models, animations, embedded video and Via Internet transmission, the audience is able Lau Kek-Huat, Laurie Anderson, Marco Lococo, munity.The Ars Electronica Garden Sydney hosts sounds— but the processes and conversations to step across boundaries and social distance to Marie-G. Losseau, Singing Chen, Tsai Ping-Hua, the output of nine, Australia-based artists who that led to them; a personal tour of our lab with elevate the experience of viewing art. Hosted by Tsai Tsung-Han, Vick Wang, Wu Po-Hung, Yang Ya-Che, participated in the artist-led research program all of our experiments and prototypes on show. the Virtual and Physical Media Integration Devel- Yann Deval on experimental VR studios at the Tactical Space opment Association of Taiwan in collaboration Institutions: Kaohsiung Film Archive (KFA), Kaohsiung Lab; during which each artist was introduced to with Kaohsiung Film Archive, Taiwan Garden col- Museum of Fine Arts (KMFA), National Taiwan Normal VR technologies, experiences, and digital cre- Director: Dr Josh Harle (AU) lects the most important Taiwanese XR works University (NTNU), Virtual and Physical Media Integration Participating Artists: Tarik Ahlip (AU), Cigdem Aydemir ation workflows during a two-week ‘incubator’ in recent years and organizes the Taiwan XR Art Association of Taiwan (VPAT) (AU), Kylie Banyard (AU), Nic Cassey (AU), John Gillies style studio in skill-building, experimentation (AU), Grace Kingston (AU), Claudia Nicholson (AU), Jason Team to represent it in the 2020 Ars Electronica and collaborative art-making. Through COVID- Phu, and Louise Zhang (AU) Festival. Taiwan Garden gathers the most out- 19 isolation, the Tactical Space Lab transitioned Videographer: Josh Mehmet (AU)/ Officedog Productions (AU) standing artists and teams, whose works center around various fields relating to Taiwan’s local character and visual elements, such as its his- tory, nature, environment, folklore, politics, cul- ture, and travel. These brilliant works address different topics, from the delicate to the popu- lar. Taiwan Garden emphasizes the interaction between modern technological applications in art and Taiwan’s valuable cultural assets to embody the concept of “glocalization.” This ability to see Taiwan’s XR development from a bird’s eye view has ­doubtless helped to bring out the top-notch Bodyless, © Huang Hsin-ChienBodyless, © Nic Cassey © Josh Harle

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ● Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN TALLINN TEQUILA

Estonian Academy of Arts (EE) Mad Machina (MX) Decoding New Technologies Tech-ila ARTesano Coolture

in Art and Design Tequitl - tlan / tequila: nahuatl for “workplace” artistic aptitude and empathy, through innova- Tequila Region with Qualified Designation of tion, entrepreneurship and science. The purpose The conference discusses the role of technology Origin; Jalisco, Mexico of these activities is to seek solutions to current in creative practices. On the one hand, we aim to ARTISAN: person who does work with his hands reality despite physical distance, to approach underline what kinds of changes, ideas, trends, Coolture: cool (modern, disruptive, revolutionary) each other with resilience, thoughts for the con- and methodologies technology has introduced Mexico is cultural kinaesthesia. It represents a struction of our identities through diversity, a into art and design. On the other hand, the con- convergence of meanings. Its land consists of better understanding of the products of our land ference offers a venue for exploring new con- countless layers, many of them, yet to be dis- and of sustainable economy. The techno-human cepts, ideas, and dangers that the technological covered. In September, the region of Tequila immersion in these activities will gather pieces age introduces, today and in the future. More will have the opportunity to understand its past of the past to connect them with the present and specifically, we will take a closer look at topics and connect with the present to project a better propel us towards a shared future. like AI and machine learning. What can AI offer future. to creative communities? Will it boost creativity From September 9 to 13, the Tequila region will Led by Mad Machina, under the direction of María José

and innovation or replace human creativity with & Mar © Varvara Landscapes, Neuronal become a centre for exploration, knowledge, bio- Sánchez-Varela and with the collaboration of various computational creativity? And what kind of diversity and hacks. From the local, we propose institutions, artists, innovators, technologists, craftsmen, impact will these computationally expensive pro- four main activities carried out from a place of scientists and inhabitants of the Country. cesses have on our environment, design and art? The conference invites local experts and practi- tioners to debate and share their ideas on these topics.

Local experts and practitioners: Dr Raivo Kelomees, Dr Varvara Guljajeva, Oliver Laas, Mar Canet, Dr Andi Hektor, Jon Karvinen, Maximilian Schich, Estonian Academy of Arts (EE) One Flag Every Day, © Pablo Argente © Pablo One Flag Every Day, © Tumbao Films , Oscar Portilla © Tumbao Films , Oscar Portilla © Tumbao

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ● Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN THESSALONIKI TOKYO

Centre for Research and Technology Hellas (CERTH) (GR), Maastricht University (NL) Supported by Japan Media Arts Festival Agency for Cultural Affairs, Government of Japan (JP) MindSpaces Tokyo Garden MindSpaces Garden will host the MindSpaces two artists as an experimentation platform on project, funded by the European HORIZON2020-­ the value of mutual understanding between art- Tokyo Garden is an online place where we all can “publishing” and “advertising” are going bank- STARTS program. To encourage collaboration works, as well as between artworks and humans, explore the origin of Japanese Media Art. As Wil- rupt. In collaboration with Tokyo Garden, Dom- between research projects and artists, STARTS between humans, and therefore, a form of human liam Gibson describes in his novels, Tokyo is a city mune will showcase new possibilities for visual funded residencies for artists at technology insti- to human (H2H) interaction. of cyber, high-tech and a uniquely wired culture. communication at Ars Electronica Festival. tutions and for scientists and technologists at art- Why? We will try to find an answer, tracing where, ists’ studios. MindSpaces Consortium how and from whom our media artists’ roots TOKYO GARDEN Maurice Beanyoun (FR) The design of space on the architectural and originate. For this challenge, we are planning to Director: Seiichi Saito Refik Anadol (TR) Artists (Exhibition): Daito Manabe (Rhizomatiks), urban scales has been shown to significantly Artists in residency: Haseeb Ahmed (US), contents such as talks with different artists and Kenichiro Shimizu (PELE), ReKOGEI, Yasuaki Kakehi, affect the emotional, cognitive wellbeing of indi- Sarah Derat (FR), Emanuel Gollob (AT), curators, virtual studio tours, a sharing archive, Daisuke Akatsuka , Juri Fujii, Yoshimori Yoshikawa, Joung viduals, and to influence the functionality and Emmanuel Van der Auwera (BE), and current artists’ work, including winners of Min Han, Miyu Hoso, Daisuke Yamashiro, dividual inc. effectiveness of indoor and outdoor spaces in João Martinho Moura (PT), Michael Sedbon (FR) the Japan Media Arts Festival 2020. Of course, (Takumi Endo, Dominique Chen) and others MindSpaces is funded by the European Union's Horizon Artists, moderators and speakers (conference, studio ways that have often been overlooked in the we will also have many entertainment programs 2020 programme in the framework of the S+T+ARTS tours, event): Seiichi Saito, Minoru Hatanaka (ICC), past. MindSpaces proposes a new model of real- programme. with DJs and artists. We hope you can virtually Naohiro Ukawa (Dommune) and others time public participation in architectural design visit Tokyo, enjoy it and think together about the processes. MindSpaces is a multidisciplinary future of media art. initiative that integrates the arts, neuroscience, Tokyo Garden is hosting a portal website for var- natural language technologies, architecture, 3D ious Japanese creators and organizations who modelling, visual and textual fields, electroen- have played an important role in Japan’s media cephalography, physiological detection analysis, art scene such as ICC and Dommune, with their and augmented and virtual reality. original exhibitions and performances in associ- MindSpaces Garden will host pre-recorded inter- ation with Ars Electronica 2020. Dommune, for views of the six artists selected from the Open example, was founded in 2010 by artist Naohiro Calls, a pre-recorded demonstration of the Mind- Ukawa, and was Japan’s first live streaming stu- Spaces platform, and a live demonstration of the dio and channel. Monday through Thursday, it has DïaloG project held by the consortium’s digital been streaming for five hours a day for ten years, artists Maurice Benayoun and Refik Anadol. experimenting with live video delivery in an era

DïaloG is an urban art project proposed by the Beanyoun Anadol, Maurice , Refik Mind Spaces where the traditional concepts of “broadcasting”, Slam Terminal Garden, Tokyo

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the STARTS programme. ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN TOKYO TOULOUSE

Austrian Cultural Forum Tokyo (JP) Cité de l’espace (FR) #JapanRevisited202x Garden Space Garden Tokyo then–now–after Visit the Moon with an astrophysicist!

In a matter of weeks, artists around the globe after→ Japan post-now: How can I imagine Japan Come visit the Moon with French astrophysicist and Buzz Aldrin on the Moon in a retrospective have suddenly found themselves surrounded by in the future? What vision do I have for Japan and co-discoverer of ice on the Moon, Sylves- that reveals the key moments of this world event a haze of uncertainty. Art fairs, residencies and going forward? tre Maurice! He will guide you through the Moon and the incredible challenges solved 50 years festivals are postponed, in-person collaborations EXPOSURE Phase 1: Submitted works will be exhibition in Cité de l’espace, the space museum ago by NASA teams. Learn how hostile the lunar are cancelled and international travel has all but featured in the curated online exhibition on the in Toulouse, France. These 4 videos were made environment is but also how resourceful and full disappeared. This “new” world — further removed website, which launches in September 2020. We as part of the children’s science conference that of surprises it can be! Finally, let’s understand from the physical than we have ever experi- are expecting an exciting range of artworks from invited pupils to imagine their schools on the how we could use our knowledge to settle on the enced — has forced artists to adapt to entirely various types of media, challenging the concepts Moon. Through the eyes of an astrophysicist who Moon. new structures. But perhaps it is this new chal- of “art” and “exhibition” in the context of 2020. has dedicated his life to solar system exploration, lenge that also gives rise to new opportunities: EXPOSURE Phase 2: Submitted works have the click and discover step by step the immersive Cité de l’espace, Toulouse, France Speaker: Sylvestre Maurice, astrophysicist, co-discoverer time and freedom to question and redraw our way chance to be selected and shown at the #Japan- Moon exhibition. Relive the accomplishment of of ice on the Moon of creating and experiencing art from the bottom Revisited202x exhibition in Tokyo in 2021 (or as Apollo 11 and the first steps of Neil Armstrong Filmmaker: Bruno Canredon up. As an encouragement to keep pushing for- soon as conditions allow). ward and break through this mist of uncertainty, the Austrian Cultural Forum Tokyo has launched Austrian Cultural Forum Tokyo, Austrian Foreign Ministry #JapanRevisited202x: then–now–after, which (BMEIA), AustriaKulturInternational reimagines the cultural exchange between Austrian artists and Japan, a bond that has existed for more than 150 years and is now facing an abrupt change. Submissions have been invited which explore or react to one or more of the following concepts: then→ the Japan I remember: How has my expe- rience of Japan shaped me? How have my mem- ories of Japan changed since visiting? now→ Japan in process: How do I understand expo Lune Festival Ars Electronica, Filmmaker: Bruno CANREDON Ars Electronica, Filmmaker: Festival Lune expo Bruno CANREDON Ars Electronica, Filmmaker: Festival Lune expo

Japan at present? How, if at all, can I experience KRAUSE & Otto 202x, Milan LOVIŠKA Japan Revisited Japan from afar?

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ● On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming This Garden is part of the spaceEU programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN TRBOVLJE TSING HUA

RUK — Network of Art and Cultural Research Centers (SI), National Tsing Hua University (TW) Delavski dom Trbovlje (SI), Kibla (SI), Pina (SI), En-Knap (SI) The Slovenian Elevator Tsing Hua Garden Tsing Hua Garden is the joint event of Ars people began to relax or even forget the changes The desire to transcend ourselves, to grow, to science and new technologies. We do so under Electronica Festival 2020 hosted by National brought about by the epidemic. So we will carry improve are basic human characteristic. Art, the premise of Humanization of Technology. DDT- Tsing Hua University (NTHU), a first-tier uni- out an action to let students lie quietly in Yuehan technology and science are ways to achieve lab is part of RUK, a network of art and cultural versity in Hsinchu, Taiwan. NTHU has a plenty Pavilion and recall the impact of COVID-19 on our that: to reach for the stars. Trbovlje, an ex-miner research centers. The RUK network consists of of lakes and forests which constitute a big and life through the audio/video art projected in the postindustrial town is striving to transcend its three locally/regionally/nationally/internation- beautiful garden. NTHU has a wide range of aca- ceiling of pavilion. past and grow into the future. At 365 meters, the ally located platforms: DDT, PiNA, and KIBLA. demic fields, converging creativities in science, chimney of its power plant is the highest chim- Partnerships include scientific organizations and technology, humanity and art. There are four NTHU, K.T. Li Foundation, and MOST (TAIWAN, R.O.C.) ney in Europe and the tallest building in Slovenia. institutions, companies, universities and other exhibitions in Tsing Hua Garden: Bitter Spring As such, it is the ultimate symbol of the indus- educational institutions. In our garden, you will and Fruity Fall Exhibition (春苦秋實) curated trial era. Its top symbolizes our future, which we experience the Vertigo Bird 2020 –where you will by Ho-Lin Lo & K.T. Li Foundation for Develop- will designed. When you reach the top, you have climb onto the highest chimney in Europe- and ment of Science and Technology: an exhibition reached the end of industrial era, and the next NeuroFly project, where you will be flying an air- of the 15th KT Award for Technology Art, the step is… plane using only brain waves and manipulating most prestigious award for college students in Climb onto the highest point of our past to see the the movements of robots with your thoughts. digital arts in Taiwan; There are three kinds of future. It can be terrifying. It will be exciting. We awards: interactive art, digital animation, and choose for it to be humane. One of our main plat- Trbovlje New Media Setting (SI), AFormX (SI), Yaskawa digital game. Buds about to Blossom Exhibition forms for creating a new identity of our town of (SI), Arctur (SI), Dewesoft (SI), HSE (SI), Creative (含苞待放) curated by Chu-Ying Chen: This exhibition Trbovlje is DDTlab, a research laboratory for art, nomads (SI), STPŠ (SI), En-Knap (SI), Dunkin Devils (SI) provides a stage for our younger artists, who are undergraduate students of the young “Tech-Art Department” (TnAD) established in 2017, under the scope of the National Tsing Hua ­University College of Arts. Flower Illuminating Forest (花光照林) by HSCC Lab and FBI Lab: This IoT instal- lation art combines the climate data gathered by the smart street lamp with COVID-19 screening data in Tsing Hua campus. COVID Flower Behav- ioral Art Everywhere (肺花遍野) curated by Su-Chu COVID Flower, © TechArt Center © TechArt Flower, COVID NeuroFly, © Masa Jazbec NeuroFly, © Nightscape Climb, Chimney Hsu and Walter Lu: After the epidemic wore off,

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN UK UTRECHT

University for the Creative Arts, York Mediale, FutureEverything, IMPAKT (NL) University of Wolverhampton, Art in Flux, NEoN Digital Arts Festival (UK) Garden of Earthly Delights Gardens of Darkness, Gardens of Light The inspiration for this project comes from the ­art-tech/art-science collaborations, showcased central panel of Hieronymus Bosch’s painting from north to south, with the START Prize winners, In Gardens of Darkness, Gardens of Light, Utrecht- Clusterduck will present MEME MANIFESTO, “The Garden of Earthly Delights”, which has runners-up, nominees and other STARTS projects based media arts organization IMPAKT will pres- a transmedia project about Internet Memes, been the subject of great study and many dif- (residencies, Lighthouse projects) at the heart of ent a survey of contemporary technoculture at a exploring the occult meanings and communica- ferent interpretations. Perhaps these are apt for the program. time when the future seems profoundly uncer- tive potentials of memetic symbology, produced our time: has too much earthly indulgence led to tain. Radicalization by Design will discuss the as part of an IMPAKT residency in the framework

this moment? Dr. Camille Baker — UCA, Farnham / STARTS Ecosystem question of whether our media are radicalizing of the European Media Art Platform (EMAP). Inspired by the Ars Electronica 2020 meta- project us. Is social media tearing society apart? How topics of ecology, democracy, uncertainty, Dr Birgitta Hosea — UCA, Farnham / ARS E Expanded do trolls, conspiracy theories, memes and fringe IMPAKT, EMAP, OILab oneseconds, City Of Utrecht, humanity, reality and autonomy, the UK garden Animation programming platforms impact politics today? With contri- Creative Industries Fund NL, Democracy and Media Fund NL. Irini Papadimitriou — FutureEverything, Manchester, will combine them with Bosch’s vision of the butions by Dimitri Tokmetzis, Richard Rogers, Creative Director/ ARS E Jury range of human experience to interrogate our Dr Denise Doyle — Wolverhampton University, Bharat Ganesh, Florian Cramer and others, the time: humanity facing the possibility of a long Wolverhampton & Birmingham / STARTS Prize project discusses issues of freedom of speech, term pandemic which is creating an instant global methodologies research project extreme speech and deplatforming. Abducting recession and mass unemployment, continued Kay Watson -The Serpentine Gallery, London / Europa looks at how reactionary movements Digital Curator and Ben Vickers, CTO/Curator climate crisis, prolonged inequality and the Lucy Bunnell — UCA, Farnham /STARTS Ecosystem manifest online and how the European political spread of fascism, as well as the looming impact Maria Almena — Art in Flux, London, Curator / imaginary is permeated with metaphors of strug- of Brexit on the UK and across Europe. Creative Director at Kimatica Studio. gle and dreams of national rebirth grounded in In the case of this year’s Ars Electronica UK Oliver Gingrich — Art in Flux, London / Curator myth. With contributions by Simon Denny, Andy Aphra Shemza — Art in Flux, London / Curator Garden The Garden of Earthly Delights is an inclu- King, Szabolcs KissPál, Annika Larsson, Sulaïman Tom Higham — York Mediale, York / Creative Director sive concept for many different simultaneous Donna Holford-Lovell — NeoN Festival Digital Arts, Majali, Dorine van Meel, Liliana Piskorska, Jon activities over the five days, which can take place Dundee, Scotland / Director Rafman and Jonas Staal. Zero Footprint offers a Berlin Conference Berlin Conference from one online entry point, allowing each orga- (with Curator and CRUMB founder, Sarah Cook) preview of the upcoming IMPAKT Festival, start- — nization to create their own sub-program within ing 28 October 2020, whose focus is the climate This project is co-funded by the European Commission's the one ‘garden’ for the duration of the festival. DG CONNECT, in the framework of the Horizon 2020 crisis through the eyes of artists and radical The Garden of Earthly Delights will act as a uni- thinkers. Finally, the interdisciplinary collective programme of the European Union under the S+T+ARTS Meel Dorine van fying community celebration of high-quality programme’s Regional STARTS Centers.

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ● Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the STARTS programme. ● Film/Animation ● Streaming This Garden is part of the EMAP programme.

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN UTRECHT VALPARAÍSO

HKU University Of The Arts Utrecht (NL) CIA-UV University of Valparaíso Artistic Research Center (CL) New Connections Valparaíso Brushwood Garden

The Ars Electronica Garden Utrecht hosted by Ars Electronica 2020 shows works related to the Valparaíso Brushwood Garden is an open task to Project Credits: University of Valparaíso Artistic Research HKU is a showcase of upcoming talents from the theme of making connections to the world around envision a space in which creativity overcomes Center (CIA-UV). Acknowledgements to: University of Valparaiso Vice- HKU University of the Arts Utrecht. As a focus us and discusses possible futures. The works pre- adversity and precariousness. Growing as brush- Rectory of Research and Innovation; Doctoral Program in this showcase reflects on what could be called sented all take on a notion of a world in transition wood in the wildlands, creativity always finds new Interdisciplinary Studies in Thought, Culture, and Society “new connections.” The HKU Expertise Centre for and the need for humans to change their attitude materials to work with, new ways to survive, new (DEI-UV); Faculty of Architecture; Faculty of Humanities. Creative Technology has curated this showcase. towards this world. This can be towards technol- forms to communicate ideas and create relation- Artists: Verónica Francés (ES), Paul Hernández (CL), This world, and not only due to the corona virus, ogy, nature or spirituality for example. The show- ships, beyond economic approaches. This is an Marcelo Raffo (CL), Fabián Villalobos (CL), Verónica Francés (ES), Cristian Galarce López (CL), is making demands on us and is in need of new case is an invitation to explore ways to make new exercise to conceive an architectural common Sibila Sotomayor Van Rysseghem (CL) connections. The way we interact with each other, connections with everything taken for granted space for many artworks that symbolize several Panelists: Gustavo Celedón Ph.D. (CL), Makis Solomos with the world around us, with technology, with around you — sometimes in a lighthearted and creative forms of life. Ph.D. (FR), Adolfo Vera Ph.D. (CL), Sibila Sotomayor corporations, with our future and with our past is playful way, and at other times more seriously Words, images, sounds, letters, gestures... all Van Rysseghem (CL) changing rapidly. Artists have the responsibility and holding up a mirror. different sprouts that coexist and share a com- This project is a cooperation between the Ministerio

to imagine the world of tomorrow. Imagination mon place, unknown to the official cartographies. de las Culturas, las Artes y el Patrimonio, the Ministerio Ars Electronica Garden Utrecht is hosted by HKU but is key to starting discussions about our behavior, Spaces, Ecologies, Memories and Resistances are de Relaciones Exteriores | Gobierno de Chile and made possible with these local partners: Ars Electronica. about solutions to current problems and design- Uncloud, SETUP, Creative Coding Utrecht, Kapitaal, the main concepts in which this virtual space has ing the future. This HKU showcase as part of House TMM been conceived and built. Against precarization or any monolithic idea of experience, Brushwood Garden seeks alternatives to imposed mapping forms or ways of inhabiting, always forcibly sep- arated or stacked, many of them considered truly brushwoods. This sprouted garden is conceived as a commu- nication spot between all artworks, a place that allows them to live in dignity, opening a possi- ble future for arts and better ways of inhabiting. In this sense, virtual space is an experimental material to conceive new territories. wait what, ©Jorien Aberkrom wait Meinster © Nienke Shaping futures, Raffo © Marcelo Brush wood, Valparaiso

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ● Lecture/Conference/Talk ● Online participatory tools ● Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ● Participatory virtual environments ○ Workshop ● Participatory virtual environments ○ Journey ○ On-demand content ● Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming ● Film/Animation ● Streaming

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN VIENNA VILNIUS

Austria in Space (AT) Instituto Media, LTMKS / Letmekoo (Lithuanian Interdisciplinary Artists’ Association), Ūmėdė / MENE, VDA PhAMA (Department of Photography and Austria in Space Garden Media Art at Vilnius Academy of Arts)

Austria in Space is a showcase for Austria’s space Austria participates in ESA programs for Earth from groves to grooves at activities and a meeting point for space profes- observation, telecommunications, technology sionals, talent, media and enthusiasts; a com- development, scientific instruments and explo- SODAS2123 munity designed to support its members in the ration, launchers, satellite navigation and space development of the domestic space sector and situational awareness. The Garden unfolds at the new SODAS2123 Multiple viewing modes and angles enable 3 days as part of Europe in space. Austria in Space is In addition, Austria invests around 30M EUR cultural complex (in Lithuanian SODAS means (and nights) of activities in the “physical grove”, open for innovation, interaction, and information. per year as a co-owner of the European Union GARDEN), in downtown Vilnius and online. A few merged with a virtual grove through live streams The platform, built and provided by the Federal (EU) space infrastructures such as Copernicus dozen artists, researchers, students and pro- and pre-recorded materials. One can experience Ministry for Climate Action, Environment, Energy, (Earth observation) and Galileo (navigation), as fessors perform in the hybrid reality grove that hybrid reality by following a wandering camera­ Mobility, Innovation and Technology (BMK), well as for SST (Space Surveillance and Track- merges the physical with the perspectives of (wo)man, a tree climber, a flying drone, a running shows the current landscape of Austrian space ing) and Horizon 2020 (research and innovation creatures living in and around it: from the artists or crawling pet (dog, cat, bird, rat) or even branch activities and institutions. It offers a comprehen- programme). themselves to microorganisms. or herb movement. sive overview of available opportunities, ranging The Garden takes the visual and conceptual The artists in the event are expanding the notion from primary education, job opportunities and Austrian Ministry for Climate Action, Environment, Energy, metaphor of the grove and builds its programme of humanity and sustainable living with the help ways to experience space daily. Austria in Space Mobility, Innovation and Technology Section III, Space Affairs around it. As an assemblage of trees or a smaller of culturally sited (and rooted) approaches to deepens the experience of space for all of us. It is unit of forest, a grove is a place where symbiotic new media, and its relations to the biological and for everyone and invites everyone to participate, communication and relationships take place not urban grove. engage, communicate, present themselves and only between its indigenous habitants, but also shape the way we experience space. Austria has among invasive and migrant species, including Curator-commissionaire: Vytautas Michelkevičius been an active player in space activities for many human beings and their activities. Curatorial team: Danutė Gambickaitė, Lina Rukevičiūtė, years. This approach stimulated the development Mindaugas Gapševičius, Ignas Pavliukevičius, Gailė Every grove has from six to nine layers: the over- Griciūtė of Austrian space technology, space-based appli- story, the canopy, the understory, the shrub layer, Artists: Mindaugas Gapševičius, Ignas Pavliukevičius, cations, space industry and exploration. Austria the grass, the forest floor (moss and soil) and the Gailė Griciūtė, Brigita Kasperaitė, Rūta Spelskytė, is a recognized partner in the space world. underground (mycelial/fungal/roots). Garden Valentinas Klimašauskas, Auksė Gaižauskaitė, Vitalij Červiakov, ūmėdė As the responsible governmental department Vilnius is inspired by Jussi Parikka’s Insect Media, Team: Antanas Skučas, Arturas Bukauskas, and policy maker, BMK directly invests around and manifests as a networked hive or swarm Paulius Žižliauskas, Gailė Cijūnaitytė, Nidas Kaniušas, 70 M EUR in the space sector per year, most of it in in the grove, where makers, culture, and DIY Eva Rodz, Žilvinas Baranauskas, Gabija Pernavaitė; programs and projects within the framework of the activities flourish. and all students, artists and collaborators European Space Agency (ESA). in Space © Austria AiS Header,

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ARS ELECTRONICA GARDEN ARS ELECTRONICA GARDEN WARSAW WROCŁAW

Adam Mickiewicz Institute (PL) WRO Art Center (PL) Folded Maps of Time Point Nemo Garden

Folded Maps of Time (FoMaTi) is an immersive ­performance, and Cutler’s history of creating Relatively near Point Nemo Models fail to take into account the cumulative, audio-visual performance that integrates bio- vanguard works across multiple genres using Paweł Janicki’s show is a metaphorical journey evolutionary growth of agentive potential and sensoric electromagnetic systems (MC) and extended instruments and techniques. toward Point Nemo, a geographical construct the complexity of knowledge — a growth result- object-oriented electrified percussion (CC). The video projections are realized by Artur Lis, denoting the location in the Pacific Ocean which ing from the evolution that unfolds at the plane The audience is surrounded by a multichannel and the sound — by Piotr Madej. is farthest from all land, often also called the pole of abstract computational systems and black sound and video system, as if inside a virtual of inaccessibility. boxes of machine learning, increasingly redolent brain, with multiple inlets, outlets, channels, and Commissioned by the Adam Mickiewicz Institute Navigation is based on protocols of dealing with of alien intelligence. Given this, it is not progress, entanglements: our folded maps of time — a con- The project is financed by the Ministry of Culture and autonomous evolving systems and experiments for progress is a human concept. Rather, it is National Heritage of the Republic of Poland as a part of stant flow. Brain activity is projected as a virtual multi-annual Programme Niepodłegła 2017-2022 with AI, the Internet, patterns in huge data sets, evolution. floating model, integrated with 3D laser extended Partners: Muzyka Centrum code, and new materiality. Objects, installations, mapping system, with biofeedback playing a sig- Artists: Marek Chołoniewski (PL), Chris Cutler (PL) actions, and non-actions revolve around one cen- Co-funded by nificant role in all aspects of the performance. Assistants: Piotr Madej (audio) (PL), Artur Lis (video) (PL) ter of gravity from which a new order of laws and Municipality of Wrocław Minister of Culture and National Heritage from Culture Selected brain waves show the mediation of the intentionalities emerges or into which everything Promotion Fund subconscious and intuitive with the prepared, collapses. pre-composed and performed materials. Though replete with references to the history Against the intuitive stands the deliberative. As of humanity, scientific and geographical discov- brainwave-driven sounds and images are inter- eries, and the history of reflection on the limits preted in real-time by a second performer, the of human knowledge, Janicki’s Point Nemo is sum feeds back organically into the monitored determined by posthumanist practice. The cur- mind of the first performer. Thus, brain bio- rently endorsed coordinates of Point Nemo are feedback is multiplied and extended through a software-calculated, and the artist observes that mélange of voluntary and involuntary feedbacks both the infrastructural basis and the collective to produce cascading reactions in both performers. imagination that promoted the interpretation of

This is a unique collaboration between Polish technology as a site of liberating play barely exist Applications Grid Web Concert For composer, artist Marek Chołoniewski and Brit- any longer. ish percussionist and composer, Chris Cutler; that integrates Chołoniewski’s award-winning audio and audiovisual work in electroacoustic

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ○ Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ○ On-demand content ○ Journey ● On-demand content ● Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming This Garden is part of the EMAP programme. ● pre-recorded video 150 151 ARS ELECTRONICA GARDENS

ARS ELECTRONICA GARDEN YAMAGUCHI

Yamaguchi Center for Arts and Media [YCAM] (JP) YCAM Garden of Threads

YCAM Garden of Threads is an artistic creation Sound Tectonics #24 as a response to the Covid-19 era proposed by Artists: SENYAWA /Wukir Suryadi & Rully Shabara (ID) & Kakushin Nishihara (JP) YCAM. Currently, we are facing a greater focus on the challenges that have been imposed on us

in the past: What is the appreciation of a work of Mieda, Creative © CityUSchool of art? Who is the physical audience for art? YCAM Ars Electronica Garden HONG KONG has been pursuing various forms of expression that are closely linked to media technology, and this time, it presents two types of contents: live performance and net artworks. This program imagines a garden full of threads as a symbol of an individual who tried to connect, independently yet organically. It is a metaphor to help picture today’s situation, which requires restrictions on human movement, heightening our longing for faraway sounds that have a deep relationship with our imagination. These sounds invite us to warp instantaneously to their source. This ability not only allows us to enjoy art, but also gives us the power to overcome difficult sit-

uations. Indeed, we can face any reality with a © Philomena Koebele Future, Art For strong imagination. Ars Electronica Garden POTSDAM

quartets online Artist: Otomo Yoshihide + Norimichi Hirakawa + Yuki Kimura + Ko Ishikawa + Yoshimitsu Ichiraku + Jim O’Rourke + Kahimi Karie + Sachiko M + Axel Dörner + Martin Brandlmayr + YCAM © quartets team quartets online,

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ARS ELECTRONICA GALLERY SPACES GARDEN Pandemic Pandemonium!, © Tobi Tejumola © Tobi Pandemonium!, Pandemic

Ars Electronica Gallery Spaces Garden Galeri ODUMIJE, Kennii Ekundayo (NG)

The Gallery Spaces Program was successfully ­everyone to think beyond the physical space, and established to bring international galleries and to question how we perceive the artwork as an collections on digital art to the Ars Electronica object. There is a real opportunity to conceive of Festival — and 2020 is no exception. But there is exhibitions as cultural events to be experienced more to it than showing digital art represented both online and offline, where the content is not by galleries, it is especially concerned with the merely documentation, but an integral part of the changing conditions of creating and marketing art curatorial endeavour. under digitalization, which are now more relevant Hence, Ars Electronica invites galleries from all than ever. In the months prior to the festival, soci- over the world to participate in this far-reaching eties around the world changed drastically under online program, and to connect within the Ars the effects of the COVID-19 pandemic. The cri- Electronica Gallery Spaces Garden — a platform to sis has led to an explosion in the usage of digital discuss new tools and technologies, which result technologies. The advantages provided by these in a multiplicity of novel approaches, methods tools are already visible in online exhibitions and developments. Markus Hofer @ MAM Mario Mauroner Contemporary @ MAM Mario Mauroner Art Hofer Vienna,Markus AT and in virtual and augmented reality. There are Due to its continuous work and experience in the Ars Electronica Gallery Spaces Garden MAM Mario Mauroner Contemporary Art Vienna (AT) countless ways in which the creation and presen- production and presentation of media art and dig- tation of connected, interactive and web-based ital art since 1979, Ars Electronica is the ideal art has been investigated and experienced. The environment for an exchange among collectors, contemporary art world is now rushing to adapt exhibitors, artists and other parties involved or to an unprecedented situation that compels interested in the field. Flamingos, © Dvein Flamingos,

Ars Electronica Gallery Spaces Garden The Wrong (ES)

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ARS ELECTRONICA GALLERY SPACES GARDEN

.art Domains (UK), Ars Electronica Linz (AT) Deutsche Telekom AG (DE) Ars Electronica .ART Gallery Keeping the Balance 3D–Tour: Experience the Art Collection Deutsche Telekom in Nîmes and Budapest The current pandemic has set the stage for an with its wide-reaching network built over time, is unprecedented shift toward the online. As a the ideal platform to distribute and promote this Founded in 2010, Art Collection Deutsche Tele- Recontres d’Arles Photography from June 11 to response, the team behind .art Domains has initiative within the community on a global scale. kom is focused on collecting, preserving and November 10, 2019. The exhibition presented developed .art Digital Twin. Essentially a digital Furthermore, Ars Electronica .ART should also exhibiting contemporary art from Central and photographic works from the collection and gave certificate of authenticity, .art Digital Twin cap- act as a model for further exploration of possi- Eastern Europe, while reaching out to neighbor- insight into the burgeoining Eastern European tures the artwork information in volumes and bilities for the art sector within the digital realm. ing areas, such as Turkey or the Caucasus region. art scene for the international audience at the quality that wouldn’t be possible with a ”tradi- After all, to properly represent today’s artistic The collection contributes to an open, discursive Rencontres. tional” offline certificate. Using the stability of positions and ideas, the fusion of intelligent and communicative culture that is of great impor- Art Collection Deutsche Telekom, Bonn, Germany/ Ludwig the DNS (domain name system) as its founda- on- and offline solutions is key. tance for mutual understanding in Europe, and Museum, Budapest, Hungaria / Carré d’Art — Musée d’art tion, it allows for Ethereum integration and other understood to be a tool for communication, the Contemporain, Nîmes, France / Artists: Nevin ALADAĞ, Sasha AUERBAKH, Szilárd CSEKE, Danica DAKIĆ, Aleksan- blockchain solutions. On a more practical level, it main task of which is to promote the exchange dra DOMANOVIĆ, Petra FERIANCOVA, Igor GRUBIĆ, Aneta allows users to store an unprecedented amount of ideas and emotions through contemporary art. GRZESZYKOWSKA, Nilbar GÜREŞ, Petrit HALILAJ, Flaka of files and data attached to an artwork. We A 3D tour of an exhibition can never convey the HALITI, Vladimír HOUDEK, Hristina IVANOSKA, Pravdoliub showcase all formats of digital creation. The pos- sensual presence and aesthetic power of its IVANOV, Sanja IVEKOVIĆ, Hortensia Mi KAFCHIN, Šejla sibilities the .art Digital Twin offers in an online works of art. The physical presence in a real KAMERIĆ, Lito KATTOU, Zsófia KERESZTES, Little Warsaw, Eva KOT’ÁTKOVÁ, Maria KULIKOVSKA, EQUALS Collective, exhibition format are extremely helpful. exhibition space, the complexity of looking and Nino KVRIVISHVILI, Piotr ŁAKOMY, Brilant MILAZIMI, Together with Ars Electronica, the team behind the experiencing the environment, cannot yet be Ciprian MUREŞAN, Vlad NANCA, Roman ONDAK, Paulina .art Domains hopes to improve and tailor this conveyed through digital technology. OŁOWSKA, Dan PERJOVSCHI, Agnieszka POLSKA, Stepan product for the creative audience through feed- Such a tour, however, can be an essential tool RYABCHENKO, Slavs and Tatars, Iza TARASEWICZ, back collection and open dialogue with its users. in documenting past events, and it serve as an Krassimir TERZIEV, Martina VACHEVA Its main goal is to support artists and art institu- additional platform for mediating content. tions, and above all, to assure visibility for their There are two tours on view: Keeping the Balance projects. is Art Collection Deutsche Telekom’s actual exhi- Ars Electronica .ART Gallery is created to high- bition at the Ludwig Museum in Budapest. It runs light the variety of projects that are possible in from September 4 to November 22, and presents the online format and offer participating artists the work of nearly forty Eastern European artists. the opportunity to certify their works with a new 30 Years After in the Carré d’Art — Musée d’Art tool created for this purpose. The project will kick Contemporain in Nîmes, was held as a part of Still, Atelier Sovetski, by Orkhan Huseynov by Sovetski, Still, Atelier off at this years’ Ars Electronica Festival, which, Installation made of?, we What are Art Deutsche Telekom, Collection Schuster Gregor Darmstadt, 2019, Photo: Kunsthalle View

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bitforms gallery, New York (US) CADAF (The Contemporary and Digital Art Fair) (US) Claudia Hart’s The Ruins Artificial Seascapes

Founded in 2001, bitforms gallery represents The Contemporary and Digital Art Fair is honored CADAF provides spaces for participants to dis- established, mid-career, and emerging artists to present Anne Spalter and Sofia Crespo, two cover and connect with the world’s most import- critically engaged with new technologies. Span- female artists working with AI technology. Spal- ant artists, galleries, curators and collectors ning the rich history of media art through its cur- ter and Crespo explore current socio-economic within the digital art market. It is a product of rent developments, the gallery’s program offers issues — including COVID19 and ecological uncer- New Art Group LLC, together with New Art Acad- an incisive perspective on the fields of digital, tainty — in their work. Both artists exhibited their emy, which is committed to education on art and internet, time-based, and new media art forms. work at CADAF Online, which took place June technology. The gallery supports and advocates for the col- 25-28, 2020. lection of ephemeral, time-based, and digital Artificial Seascapes reflects on the impact Curated by CADAF artworks. humans and technology have on the environment Artists: Sofia Crespo (DE), Anne Spalter (US) Panelists: Mario Klingemann, Helena Sarin, Anne Spalter, The Ruins is an exhibition that implements still and explores new ways to visualize it. By incorpo- Osinachi; Moderator: Jason Bailey lives to contemplate the canons of a patriarchal rating AI, algorithmic tools and data processing western civilization: modernist paintings and into their practice, Spalter and Crespo allow us to manifestos of political utopias. Join Claudia Hart see mundane events from a machine’s perspec- and composer Edmund Campion for a video inter- tive. By shifting the focal point, scenes that are view as they discuss the works as meditations on familiar to the human eye — like images of cruise a world in crisis, speaking to an unstable pres- ships or sea creatures — start to evolve, result- ent experienced through the possibility of sim- ing in unprecedented compositions. The artists ulation-technologies that use data to model the invite the viewers to submerge themselves in crystallization of past, future, and present into a these new worlds, where beauty and technology perpetual now. collide to expose questions of human perspec- tive, consciousness and preservation. Launched Claudia Hart, with music by Edmund Campion in 2019, CADAF is an art fair dedicated to digital Claudia Hart Big Red, 2019 and contemporary art. It supports the expansion From the series Machines for Thinking of digital and new media art through a dedicated Video (color, silent), tiled monitors or projection on stretched screen, optional custom/augmented-reality wallpaper with program of art fairs, exhibitions and panel discus- hand-held device and custom/augmented-reality software Installation dimension variable sions around the world, nurturing and promoting 5 min, video loop

the most exciting talents in cultural innovation. Crespo © Sofia

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Carl & Marilynn Thoma Art Foundation (US) Daata (UK) Thoma Foundation’s pioneering Daata presents Eva Papamargariti

Digital & Electronic Art collection Eva Papamargariti’s work explores the relation- macroscale. Furthermore, she is focusing on pro- ship and construction of the limits between vir- cesses that are established through online pres- The Carl & Marilynn Thoma Art Foundation was We focus on purchasing artworks by mid-career tual space and material reality, as well as the ence and the traces that our operations inscribe formed in 2014 to develop grantmaking, awards, and established artists whose work has shifted dynamic dissolution that takes place on the to the objects and habitat where we find ourselves and fellowships for innovative ideas in the diverse the fabric of the field in which they create, such verge of these two “ecosystems.” Her practice situated, through our continuous interaction with fields of global art in which it collects. The Thoma as Leo Villareal, Camille Utterback, Manfred Mohr, delves into issues and themes related to simul- devices and machinic artifacts. Daata commis- Foundation’s pioneering Digital & Electronic Art Steina and Woody Vasulka, John Gerrard, Rafael taneity, the merging of our surroundings with sions original, digital artworks by established and collection includes over 300 artworks by 125 Lozano-Hemmer, Sommerer and Mignonneau, the virtual, the constant diffusion of fabricated emerging artists, allowing you to stream or down- artists working in custom-coded and algorithmic Lynn Hershman Leeson, Refik Anadol, Trevor synthetic images that define and fragment our load high-quality digital artworks on any device. software, internet-connected and generative Paglen, Vera Molnar, and many others. Recent identity as well as the symbiotic procedures and Founded in 2015 by David Gryn, Daata is the lead- animation, early computer drawing, interactive support for Digital & Electronic Art programming entanglement that take place between humans, ing platform for digital artworks. Through four technology, video installation, and electronic includes Rhizome’s Net Art Anthology, the Gug- nature and technology. Superimposing moving avenues — Daata Editions, Daata Streaming, Daata sculpture. The Thoma Foundation passionately genheim Museum’s Conserving Computer-Based image, sound, text and sculptural installations, TV and Galleries at Daata — Daata offers hundreds pursues new art acquisitions, operates an active Art initiative, and The Body Electric exhibition at she is creating narrations that are researching of original, digital works by an ever-growing artwork lending program, and curates original the Walker Art Center. pragmatic or speculative scenarios and inter- portfolio of contemporary artists. exhibitions in its art spaces in Santa Fe, New actions among multitudes of critters situated Mexico, and Chicago, Illinois. Carl & Marilynn Thoma Art Foundation, US in diverse conditions — from microscale to Eva Papamargariti, Daata, David Gryn, Anna Mustonen © Eva Papamargariti and Daata Papamargariti © Eva © John Gerrard, Solar Reserve © John Gerrard, Maclean © Rachel Its Whats Inside hat Counts,

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LAST/RESORT (US) Galeri ODUMIJE, Kennii Ekundayo (NG) Emilie Trice & LAST/RESORT Pandemic-Pandemonium! present Garden del Rio Grande Curated by Kennii Ekundayo Kehinde “Kennii” Ekundayo is an independent believe that worldwide, every individual would LAST/RESORT Club is an artist collective based in concert with everything else. Garden del Rio art curator based in Lagos, Nigeria. Specializing seize the moment to bury all hatchets and work the beautiful Rocky Mountains that specializes Grande seeks to illuminate the connections that in modern and contemporary African art, she has together to find a way around the destabiliza- in emergent digital practices and speculative & bind us — to each other, to the land, to our shared curated exhibitions around the country. Her pro- tion caused by the pandemic but alas! it has not sustainable design for the Anthropocene. past and to our collective future. fessional practice began in March 2017 with a been so. Recent events have created the appear- Autonomy is a myth. So is manifest destiny. These group exhibition of amateur photographers, and ance that a Pandora’s box of animosity has been so-called “ideals” of American individualism and Garden del Rio Grande curated by Emilie Trice has grown to curating key projects involving the opened, giving rise to other tragedies — human exceptionalism have contributed, greatly, to the Participating artists and institutions: John Jota Leaños, Rafael Fajardo, Cherish Marquez, LAST/RESORT Club (Art- likes of revered legendary artist, Bruce Onobrak- tragedies, alongside the coronavirus catastrophe. current state of social, political and moral polarity ists: Jeremy Billauer, Sarai Levinson, Cherish Marquez, peya and Nobel laureate, Wole Soyinka, in various Pandemic-Pandemonium! is a two-part presen- in the United States, especially in relation to the Scott McKinney, Austin Slominski, Emilie Trice, Jullian media ranging from drawings and paintings, to tation centered on the collective response of region surrounding the Rio Grande River, which Young), Black Cube Nomadic Museum, Denver, Colorado; film and photographs, to texts and installations Africans living in Africa vis-à-vis current prev- runs from central Colorado south to New Mexico Desert Valley Art Ranch, San Luis, Colorado amongst other art forms. alent issues that threaten humankind — racial and then along the U.S./Mexican border to the She is Communications Officer of the Commit- discrimination, violence against women and the Gulf of Mexico. tee for Relevant Art (CORA), a Nigerian nonprofit COVID-19 pandemic. Whilst one part makes a The acceleration of technology is hurling us platform for artists, art critics and aficionados, statement on the resilience of the human spirit in towards new frontiers, either designed by us or and culture advocates. She is also a part of the the face of the deadly coronavirus by examining assigned to us, often without our input. Before we

organizing team of the Lagos Book & Art Festival, the place of faith and protest, the other focuses can use technology to create a different and bet- LABAF, a yearly prime literacy and youth empow- on the valorization of melanin-rich skin amidst ter future, we need to reimagine our past and take erment project that is now in its 21st edition. the fatal hostility that accompanies it. steps towards reverse-engineering our present. Ekundayo is head curator at Galeri ODUMIJE, a The exhibition sits on the theme of humanity, How can technology reconnect us to the land? curatorial outfit she recently established and one of the focal points of the festival this year. Or amplify indigenous voices? To what extent which operates out of Lagos, Nigeria. It is brought to life by contributions comprising a can art and design fortify sustainable ecologies soundless video, video-poetry and photographs or empower equitable narratives? Is it possible The “arrival” of the coronavirus pandemic thor- from creatives based in different parts of Nigeria. to go forward by looking back? oughly upset the global order by putting a stop Autonomy, as a social ideal, is misleading — we all to nearly all operations and activities around the Still from the animated short the animated from Still film Frontera! John Jota Leaños by Credits go to the featured artist(e)s: Bernard Kalu, Ikenna need each other in order to progress, and often world. It was not far-fetched to think or even Ogbenta, Rez Afolabi and Tobi ‘Tej’ Tejumola. just in order to survive. Everything happens in

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ○ On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ● Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming

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Galerie Charlot (FR) KÖNIG GALERIE (DE) 10 Year Anniversary Exhibition better off online Curated by Anika Meier Galerie Charlot was created by Valérie Hasson-­ to recent landmark exhibitions such as Electronic Benillouche in 2010 to promote innovative con- Superhighway at the Whitechapel Gallery (2016), KÖNIG GALERIE is a contemporary art gallery the former chapel and nave. In 2017, KÖNIG temporary art practices. Especially sensitive to Artists & Robots at the Grand Palais (2018) and representing international visual artists, with GALERIE opened KÖNIG LONDON in a former emerging art forms, Galerie Charlot focuses on Programmed: Rules, Codes and Choreographies in exhibition spaces in Berlin, London, Tokyo and car park in Marylebone, London. In November the relationship between art, technology and sci- Art at the Whitney Museum (2019). Digital. 2019 KÖNIG TOKIO opened in Japan presenting ence. In May 2017, Galerie Charlot opened a sec- While the earliest works in the show, like Manfred KÖNIG GALERIE was founded in Berlin by Johann artists that are based in Germany, Austria and ond space in Tel Aviv-Yafo, Israel. The gallery is a Mohr’s algorithmic drawings, date as far back as König in 2002, and currently represents 40 inter- Switzerland. In April 2020, KÖNIG DIGITAL was reference for a clientele that ranges from young the 1970s, works by emerging artists–including national emerging and established artists, mostly launched as the fourth gallery location. The digi- to leading art collectors who appreciate its vision Quayola, Sabrina Ratté, Flavien Théry–showcase belonging to a younger generation. The program’s tal visitor enters the virtual gallery space through for today’s and tomorrow’s talents. how a new generation of artists is engaging with focus is on interdisciplinary, concept-oriented the app KÖNIG GALERIE and experiences digital The Paris and Tel Aviv-based Galerie Charlot contemporary technology. In their respective and space-based approaches in a variety of art by established and emerging artists. celebrates its tenth year with an anniversary practices, these artists use 3D software, com- media including sculpture, video, sound, paint- exhibition in Paris. The curated show features puter-generated animation, three-dimensional ing, printmaking, photography and performance. Concept: Thomas Webb & Anika Meier currently represented artists, showing a diversity scanning, and optical techniques. Game: Thomas Webb In May 2015, KÖNIG GALERIE took over St. of approaches to media over several generations. Artists: Lu Yang, Aram Bartholl, Arvida Byström, Agnes, a monumental former church built in the Exhibiting artists include Anne-Sarah Le Meur, Nicole Ruggiero, Jonas Lund, Alice Bucknell, 1960s in the Brutalist style, where museum-like Thomas Webb, Rachel Maclean, Koo Jeong A, Antoine Schmitt, Dominique Pétrin, Eduardo Kac, ­exhibitions take place in two different spaces, Sine Deja, Manuel Rossner, Sebastian Schmieg Eric Vernhes, Flavien Théry, Laurent Mignonneau & Christa Sommerer, Manfred Mohr, Nicolas Sas- soon, Nikolas Chasser Skilbeck, Quayola, Sabrina Ratté, Thomas Israel and Zaven Paré. Since 2010, Galerie Charlot has been developing its program on the relationship between art, tech- nology and science; showing established, mid-ca- reer, and emerging artists spanning a range of media from the traditional to the experimental. This 10th anniversary comes at a moment when

media art is gathering renewed attention thanks © Sabrina Ratté Aviv, Tel Galerie Paris, Courtesy © Arvida Byström Still, 2018, Video, Disembodied Daughter, Synthetic seducion, © Stine Deja

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ● Journey ● On-demand content ● Journey ○ On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ● Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming

164 165 ARS ELECTRONICA GALLERY SPACES GARDEN

LIUSA WANG (FR) MAM Mario Mauroner Contemporary Art Vienna (AT) Liusa Wang presents aaajiao Markus Hofer Visuelle Hypothese —

Founded in 2014, LIUSA WANG promotes and to media has turned us into compulsive snackers An Exhibition @AAA Project Space supports young contemporary Chinese art- and triggered a cycle of shorter attention bursts, ists. Nowadays, the gallery creates a dialogue shorter media portions, increased tempo, quicker Mario Mauroner Contemporary Art Salzburg was ­benefit from this exciting location by bringing between emerging artists and young talents payoff and algorithmic optimization. founded in 1972 by Mario and Waltraud Mauroner together art, design and architecture and inviting around the world. The growing support of col- As Bots, spiders or web crawlers are heavily as Galerie Academia. With 30 years of interna- curators, designers, architects and collectors to lectors and international media symbolizes the used by search engines to figure out how to rank tional experience, more than 400 exhibitions and collaborate on interdisciplinary exhibitions. recognition of the gallery’s artists. Being sensitive websites in search results, aaajiao links their participation in international art fairs, plus an The focus of Markus Hofer’s exhibition Visuelle to the narration of concepts, LIUSA WANG is open basic function with modern users’ illusions and additional 1200sqm, two-level exhibition space Hypothese is the process of visual perception, to different mediums of art and keeps exploring dilemmas about truth. In this age of accelerated in Vienna, MAM offers spectacular room for the in which our brain is supplied with information the limits in the art world. planetary computation, there is no doubt that we presentation of large-scale sculptures –one of about objects visible in space through the retinal In this video bot., the artist presents a portrait humans struggle to “remember” and to “think in the gallery’s main focuses. As a second point of and optic nerve, and compares them objects to of memory built on a machine’s assumptions of more memorable ways” as we become unable interest, the gallery’s program is also dedicated remembered and memorized objects. It is only how people would think a machine interprets to rely solely on regions in our brains devoted to to collecting the work of outstanding interna- by matching our memory to what we have already the mind. He borrows aesthetics from exist- spatial memory. tional contemporary artists, especially from the seen that we can recognize an object and deter- ing role-playing action games such as Mother3, Mediterranean, with a common ground in the mine its function. Markus Hofer: “I am fascinated Adventureland, Undertale, and ROM, to create bot by aaajiao was done in collaboration with Quanquan. steady progression of their respective creative by this process in which visual hypotheses are awareness of our world in 2018 — a perhaps work, built independently from current trends. established based on sensory information. Ulti- slightly dystopian impression — and to introduce Aside from its Ground Floor and Basement, as mately, we cannot perceive anything that we can- a concept of memory that sets itself apart from of October 2014 the gallery hosts roomnum- not classify. This matching and learning is essen- present understandings. berOne,a space exclusively dedicated to emerg- tial for our minds. So we can invent our reality.” He also displays the wechat circle which could be ing artists, as well as All About Art, a new space With the ambiguity so typical to him and the a Chinese version of Instagram feeds. This work focusing on interdisciplinary projects. The Seiler- tongue-in-cheek titles integral to the individual expresses his concerns about continuous partial stätte District, where the gallery is located, is artworks, Markus Hofer’s objects lead our expe- attention. By adopting an always-on, anywhere, not only known for its high class hotels, but for rience ad absurdum and challenge us to a lustful, anytime, anyplace behavior, we exist in a state of a very lively art scene, filled with contemporary unbiased and revealing process of perception. excitement and alertness and we can no longer art galleries, museums and boutiques as well as Duration of the exhibition:

concentrate fully on anything. Constant access © aaajiao design flagship stores such as Minotti, Ladenstein September 09, 2020 — September 10, 2020 and SieMatic. We want our new project space to Markus Hofer / MAM Mario Mauroner Contemporary Art Vienna (AT)

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ○ On-demand content ○ Journey ● On-demand content ○ Performance/Concert/Event ● Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming

166 167 ARS ELECTRONICA GALLERY SPACES GARDEN

PSM Gallery (DE) sound:frame / Eva Fischer (AT), Marijn Bril (NL), Angie Pohl (AT) PSM presents Catherine Biocca sound:frame virtual —

Within her body of work, Catherine Biocca Not far, nestled upon a modest hill, a humanoid, Area for Virtual Art ­frequently shapes environments that insinuate house-like sculpture breathes quietly, if anx- total autonomy from the viewer’s reality. It is iously. Meek and vulnerable, crooning sounds “site inspection,” exhibition tour & festival cocktail sound:frame realizes exhibitions, performance almost as if, by visitation, we are actually intrud- escape it. Perhaps it also does not want to draw This year sound:frame expands into the virtual formats and discourse programs in the field of ing upon private property or a theater stage, attention from the looming ascendant. Milky Seas realm, with a new platform for virtual art and audiovisual, post-digital art, immersive media interrupting the very happenings taking place. explores and challenges the inside/outside bar- discourse: the Area for Virtual Art. Together with and XR. By establishing the Area for Virtual Her characters, often recognizable as anthropo- riers of perception between subject and object. Pausanio, the Cologne-based agency for digital Art (areaforvirtual.art) together with Pausanio, morphized assemblages, are consistently active Once in-situ, the viewer is no longer in possession cultural communication, we are pursuing the sound:frame is creating a platform for present- and presently conscious within their surround- of a passive, watchful gaze, but becomes inte- vision of creating a virtual place for digital art ing, experiencing and discussing digital art and ings. In Milky Seas, the viewer is instantly swept grated into the story as a kind of collective con- and culture where people from all over the world culture on an internationally networked level. into an unpredictable narrative. We first chance sciousness that slips and weaves itself through can meet. The Area for Virtual Art will host exhi- Area for Virtual Art — areaforvirtual.art / sound:frame. upon a lively conversation we are not entirely sure the gallery space. bitions, discourse formats and social events and Immersive Art / Eva Fischer, Angie Pohl, Marijn Bril, we’re meant to hear. Within the gallery space, two present current digital artistic approaches, such Stefanie Schmitt, Maximilian Prag, Marlene Kager, Martina PSM Gallery, Berlin, (DE) Menegon, Enrico Zago, Matthias K. Heschl — soundframe. candidly aging women, their figures made up of as XR, interactive or AI based (art)works. We see Catherine Biocca (IT) at / Pausanio. Agentur für digitale Kulturkommunikation / a variety of soft and solid materials, cackle and Text: Christina Gigliotti the internet in its hyperlinked nature as the per- Holger Simon, Madita Wierz — pausanio.com/ screech freely at each other for a time. Their exag- fect exhibition and communication environment. PARTNERS: Kultur Wien, Vienna Business Agency, Lost geratedly long limbs and wry facial expressions Amidst the chaos of cyberspace we’re creating a in the garden / Artists: Martina Menegon, Depart, Elena allude to a playful kind of jeering, joke-telling, setting for people to show and see art, gain new Romenkova, Maximilian Prag, Marlene Kager, Enrico Zago, and others or rousing of whomever comes within earshot. insights, critically reflect and create connections. Not unlike an excited crowd yelling the slogans Our very area within the Metaverse gives our of their favorite sports team or politician, the two community the opportunity to discuss their expe- mimic aggressive battle cries and shouts, usually riences in personal conversations and to enlarge meant to intimidate one’s enemy or opponent. their international network at virtual live events. Their exchange is only disrupted by an impending As part of the Ars Electronica 2020, we give a sound; the approaching footsteps of an authority first insight into the Area for Virtual Art and invite maybe ready to tread boldly into the scene, sul- the audience for an exclusive “site inspection,” lying the chalk-white floor with their hefty boots. including an exhibition tour to hear more from Anxiety draws nearer — where can these two con- the artists and a virtual cocktail party to meet © Catherine Biocca spicuous mascots possibly hide? others. The Viennese platform for immersive art | areaforvirtual.artMaximilian Prag

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ○ Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ● Participatory virtual environments ○ Journey ● On-demand content ○ Journey ○ On-demand content ○ Performance/Concert/Event ○ Experimental tools ● Performance/Concert/Event ○ Experimental tools ○ Film/Animation ○ Streaming ○ Film/Animation ○ Streaming

168 169 ARS ELECTRONICA GALLERY SPACES GARDEN

The Wrong (ES) VENT gallery (AT) The Wrong TV (online) Rebecca Merlic — The City as a House

The Wrong was born in 2013 as a collaborative the midst of the COVID-19 pandemic outbreak, Vienna-based VENT gallery promotes interna- ­digital and virtual space, but also in concrete effort to create and promote digital art & culture, The Wrong announced new biennale editions tional and local rising artists in contemporary space? Shifting privacy in non-domestic spaces launching a global art biennale open to participa- for November 1st, 2021, November 1st, 2023, visual arts, curated in solo and group exhibitions can lead to different architectural consequences. tion. The Wrong Biennale happens online, offline: and November 1st, 2025 — and added two new as well as performative formats. VENT gallery’s The City as a House depicts an illusion of private Online happens in pavilions — virtual curated strains: The Wrong Website — an online website program is focused on researching the artificial ownership of a place we call home and transfers spaces in any accessible online media where featuring a daily feed of digital art and culture meaning of media by implementing technolo- it into the cityscape where the human occupies selected artworks are exhibited. Offline happens links and The Wrong TV — an online TV platform gies from the late 20th and 21st centuries into a certain amount of space while moving or rest- in embassies, institutions, art spaces, galleries, live-streaming digital art and culture. the artistic process and analyzing their social ing depending on time and need. What does it and artist run spaces in cities around the world. potential. VENT gallery focuses on the artistic mean to be freed from craving a nest? A strategy “Anyone interested in the field of digital An extended team of curators appoint themselves and curatorial exploration of futurality. Futurality of successfully surviving without being bounded. art ought to pay attention to The Wrong.” to feature what they like best of the new digital describes incidents of the future that are already It proposes a new form of society. The next self- Christiane Paul, new media curator for art scene today. Artists also appoint themselves inscribed into the present as diffuse phenomena improvement of humanity or going back to our The Whitney Museum of American Art via open calls and routers. Since 2013, more than of so-called “hyper-objects.“ roots. A visual novel built with a Game Engine to 5,500 artists and curators have officially partici- At the Ars Electronica Festival 2020, The Wrong Vast amounts of pictures, sounds, videos and 3D open up digital space for the human user to relive pated in The Wrong Biennale. presents an online linear live streaming video scans are organized as environments in Rebecca the experience and open up new spaces. exhibition featuring a selection of digital artworks Merlic’s The City as a House, in the form of an “Counting its viewership in the millions, curated by David Quiles Guilló. interactive visual novel. A work about the exper- Processing: Vivien Schreiber / Sound design: Manuel The Wrong just might be the world’s largest iment of a white European 30-year-old hetero- Riegler / Artist talk: Manuela Hillmann / art biennale — the digital world’s answer Curator: Manuela Hillmann, Philipp Pess Curators and artists: https://biennale.thewrong.org/2019-2020 sexual human living in Tokyo without inhabiting a to Venice.” Team: David Quiles Guilló, Graziela Calfat, Alejandra private apartment over a period of time. A specu- The New York Times Raschkes, Jennifer Talbot lative exploration of the possibilities of abolish- Council: Ben Grosser, Erica Lapadat-Janzen, Florian Kuhl- ing known forms of habitation. In 1903 Hermann The 4th edition bloomed from November 1st, mann, Guilherme Brandão, Miyö Van Stenis, Jon Cates, Muthesius said: “Japan is in many respects the 2019 until March 1st, 2020, featuring +2300 art- Pablo Hannon, Carla Gannis, Moises Mañas, Patrick Lichty country that comes closest to one’s dream of ists +210 curators +150 online pavilions +100 With support from: CMCV — Consorci de Museus de la Comunitat Valenciana — Generalitat Valenciana (ES) paradise.” The current situation in Tokyo allows embassies +320 events +120 locations around SESC SP — Sao Paulo (Brazil) for the emergence of a turbo-dense, capital- the world, and all over the Internet. In March SOIS CULTURA awards 2019 ism-driven space generator for satisfying one’s 2020, following the end of the 4th edition and in CARGO personal longings and needs. Is a new form of nomadic living not only being constructed in Merlic © Rebecca The City As A house,

GARDEN PROFILE GARDEN PROFILE FORMATS COMMUNICATION STRATEGIES FORMATS COMMUNICATION STRATEGIES ● Exhibition ○ Social Media ● Exhibition ○ Social Media ○ Lecture/Conference/Talk ○ Online participatory tools ○ Lecture/Conference/Talk ○ Online participatory tools ○ Workshop ○ Participatory virtual environments ○ Workshop ○ Participatory virtual environments ○ Journey ○ On-demand content ● Journey ● On-demand content ○ Performance/Concert/Event ○ Experimental tools ○ Performance/Concert/Event ○ Experimental tools ○ Film/Animation ● Streaming This Garden is part of the STARTS programme. ○ Film/Animation ○ Streaming

170 171 ARS ELECTRONICA GARDENS / Ars Electronica Journeys, AI LAB Journeys Ars Electronica Journeys

Maja Smrekar (SI): !brute_force Nye Thompson (UK) As is true for all cultural institutions, Ars Electronica­ the audience’s physical presence. Beyond that, Responding to the coronavirus pandemic, the For my new work /artefact, I took possession of was confronted with the question of how to cre- the journey guides can really invite the viewers !brute_force project focuses on the future of mar- a large area of Mars, using Google Earth and sat- atively maintain its responsibilities given the into their “world” by not just offering exclusive ket-driven diagnostic wearables and AI-based ellite survey data to build a supertall border wall challenges posed by the coronavirus. It quickly insight into their fields of expertise and ­artistic health monitoring technologies. A human and around my claim. became obvious that our main objective was to practices, but sharing surroundings relevant dog performer climb through an installation of In this video, I’ll chat with curator Lucy Dusgate ensure that the festival still functioned as a com- to their work — be it their labs, inspiring public platforms and empty spaces. Both wear Electro- who originally commissioned the work, and our munity-platform that was easily accessible to the places, or their favorite walking routes to mull cardiograph ECG/EKG diagnostic wearables, used germ-neutral network-enabled conversation will public. over ideas. All of the journeys are realized in dif- for the medical monitoring of chronic heart and be broadcast across my Martian territory. We’ll Because of this, we decided to collaborate with ferent frameworks: journeys within the Regional respiratory conditions. These are gathered within talk about my art thinking process generally, and a large number of partner institutions across the STARTS Centers project focus on innovation a Neural Network, whose goal is to synchronize in terms of this new work specifically; including globe to host a decentralised festival across many and collaborative practices; while the European the heartbeat of the human with that of the dog. how the pandemic came to influence its even- locations. Ars Electronica Journeys is an entirely ­ARTificial Intelligence Lab journeys put a spot- On the one hand, the installation represents the tual form. We will also discuss interdisciplinary new format which evolved in the midst of rethink- light on cutting-edge topics and developments canine and human bodies under surveillance collaboration, a vital part of my artistic practice. ing the festival. Artists, researchers and creative in the realm of artificial intelligence. Finally, the capitalism, as abstractions within total corpo- producers were invited to prepare video jour- journeys within EMAP present exciting residen- rate knowledge and control of bodily function. On Rocío Berenguer (ES) neys, providing interactive guided tours without cies at the intersection of art and science. the other, the installation also suggests paths of In 2030, a human-plant hybrid guides us on a resistance, by imagining the coexistence of the trip through the past, unveiling the origins of G5, two species in a state of joint physical activity. the first inter-species political summit. The event was initiated by IOFLE, the Inter-species Organi- Mika Satomi (JP/AT): sation for The Future of Life on Earth. Its founders AI LAB JOURNEYS Artificial Intelligence and its False Lies are thought to be the artist Rocío Berenguer and These video commissions are co-funded by the Creative Europe In this tour, Mika walks you through her process IA collaborator, IAGOTCHI. Programme of the European Union in the framework of the European of making Artificial Intelligence and its False Lies, This project will compose various images of the G5 summit, with a narrator — expressed as a voice ARTificial Intelligence Lab. from the first questions she had and how one led to the next, to interviewing scientists and finally or with subtitles — as guide. A short interview with teaching herself how to make an artificial neural the scientist who worked on the development of network. She also attempts to explain how neural IAGOTCHI, the artwork based on an AI chatbot, Mimi Onuoha (US) networks work, because she was shocked to learn will be included. there is no actual intelligence inside the black box! In early 2020, Jess Myers and I participated over tarot cards. The journey that our conver- She invites two experts, an AI researcher Diana in Safar, a performative conversation in public sation takes will be tied to the major arcana of Serbanescu and a craft and techno culture theorist space. Hosted by art duo aghili/karlsson, the event the deck. By staying in one place, we reference Daniela K Rosner to have a dialog with her on some involved a live streamed conversation between us numerous things: the international moment cre- of the concepts she is exploring in her work. as we moved from the center of Stockholm to the ated by Covid-19 that has forced so many people duo’s studio on the edge of the city. In reflection to stay in one place; my recent work The Future of our physical journey, the trip found the two of Is Here!, which focuses on machine learning labor us conversing about margins, technology, archi- carried out within domestic spaces; and the pow- tecture, blackness, and the spaces that we — and er-geography of the world that has shaped our others like us — find ourselves constantly moving own work, individually and collectively. As we within and between. This conversation is a fol- stay in one place, we will address questions of low-up to that one. This time, rather than taking migration, coloniality, space, and what it means a physical journey, Jess and I will set ourselves to work under conditions that are curtailed — and up on a Brooklyn to discuss themes of our work made possible — by all of these. Mika Satomi, © Ingo Randolf © Nye Thompson © Rocío Berenguer Coex

172 173 ARS ELECTRONICA GARDENS / Ars Electronica Journeys, AI LAB Journeys

Cecilie Waagner Falkenstrøm (DK): Centaur Tega Brain (US), Sam Lavigne (US): At the Abandoned IBM Complex, Endicott NY

How can we better comprehend the challenges her artistic practice, utilizing machine learning This conversation will be between myself, Tega today. We have both examined emerging uses and possibilities of artificial intelligence in art? (RNN, NLP, Reinforcement Learning) to create the Brain, and one of my long-time artistic collabo- of AI in our creative work, Tega looking at the And how do human-technology hybrids transform modern dance piece, Centaur. rators Sam Lavigne. We will visit the site of the context of environmental inquiry in projects like artistic practice? Audiences will be able to follow the creation of now abandoned IBM complex located at Endicott, Deep Swamp and Sam has examined histories of This video tour scrutinizes such questions and the piece, listen to Cecilie and modern dance NY. The plant closed over 13 years ago; however, computing and policing (something also relevant suggests that the increasing usage of machine instructor Pontus Lidberg discuss their thoughts IBM’s presence remains in a toxic plume in the to IBM’s history) in works like White Collar Crime learning in artistic practice calls for a re-examina- on how machine intelligence transforms artis- groundwater, which is still impacting the health Risk Zones. tion of the artistic relationship between human tic practice, and watch rehearsals where the AI of Endicott’s community today. We have chosen We are currently collaborating on a new work and non-human actors. In this video journey, art- persona David takes the lead in instructing the this superfund site as it tells a story of the mate- looking at media manipulation around the issue ist Cecilie Waagner Falkenstrøm will reflect upon dancers. rial legacy of AI and contemporary computing of climate change.

Sarah Petkus (US): What Matters Now? Theun Karelse (NI), Ian Ingram (US)

In the wake of the global COVID-19 pandemic, what it means to be a content creator and artist in Ian Ingram and Theun Karelse are taking you tutes a field experiment, in a virtual safari to daily life has been disrupted and given room to this unique era where humans are limited by the along on a fieldtrip in parallel locations. Theun some habitats that serve as “training forests” change; from the comfort of routine to the energy constraints of physical isolation, yet connected in in the Netherlands, Ian in California. Theun will for machines such as DeepSteward. Some addi- that fuels the creation of electronic and robotic abundance through virtual platforms and social explore the relevance of fieldwork programs tional footage may be featured from earlier field- work. While staying safe in her personal labo- media. As the lines between private and profes- (such as Random Forests) and in-situ prototyping work sessions to give a broader impression of the ratory in Las Vegas, Nevada, technologist Sarah sional life blur, she hopes to find new forms of to artistic practice and Ian shows what consti- experiments and methodology. Petkus has been using this time to re-evaluate meaning amidst the uncertainty.

Špela Petrič (SI): In the eyes of the algorithm, we are all already plants. slow immediate (CN/US): The Wandering Mind

In conversation with Agnieszka Wolodzko, a background of prototyping new works and Our work has always been a search for planetary nized by an AI system. From home confinement, philosopher and author who also runs a biolab (remotely) installing exhibitions, they speak connection. Quarantine shifted the dynamics of we mined the internet for field recordings, tuned at the art academy in Enschede, NL, Špela Petrič about the potential of the vegetariat to create the search. Our project with AILAB, the Wander- radios, and climbed to our Brooklyn rooftop to shares fragments of insights and dilemmas that alliances with algorithms that would counter the ing Mind, is a sound experience that guides the point antennas at passing satellites. Our isolation have arisen from the interdisciplinary Plant- hegemonic sphere of interest and replace it with dreams of a sleeping audience, its source mate- crystalized for us how much deeper our search Machine Project. While peering into the messy the erotix of care. rial drawn from planetary-scale sensing and orga- can run, how vivid and connective dreams can be.

© Sarah Petkus Špela Petrič, Vegetariat: Work Zero Tega Brain, Sam Lavigne © Chris Waits © Theun Karelse © slow immediate LLC © Hana Josić

174 175 ARS ELECTRONICA GARDENS / Ars Electronica Journeys, EMAP Residency Journeys EMAP RESIDENCY

JOURNEYS Forms of Ownership (INT): Viral Fiction These video commissions are co-funded by the Creative Europe Money and law shape much of our everyday life. of these systems, we believe art is a way of think- Programme of the European Union in the framework of EMAP/EMARE. In a hyperbole of social sculpture, our artistic ing that is not limited to art itself but rather can practice is anchored in approaching these sys- occur in any field. In this way, artistic thinking is tems as artistic and creative mediums in them- always inter-disciplinary and can lead to action in selves. Working critically within the frameworks the face of socio-political challenges.

Daniel Hengst (DE): blooming loves María Castellanos (ES), Alberto Valverde (ES): Beyond Human Perception

Skip-the-line entrance, a collaborative guide to a The artwork is a video installation that allows the speculative berlin; Discover a whole new Berlin. audience to visualize the reactions of humans Join us on this journey and visit four local art- and plants to a common stimulus: live music. ists. During unforgettable visual presentations, The installation is the result of several sessions you will learn how these artists work and with where the brain activity of humans was measured whom, what they see as necessary to leave the jointly with electrical oscillations in plants, using old city and build a new one on swampy ground. a sensor developed by the artists. Be inspired and discover previously invisible and The Fast Fourier Transform allows us to extract non-existent attractions. Skip the lines at this data from plants and humans and compare both. popular site. Finally we visualized the data through a graphic representation generated by an algorithm created by the artists, which allows us to find patterns between both living beings.

Kasia Molga (PL/UK): How to make an Ocean? Stefan Laxness (UK): Identity and Aesthetics in an Rewilded Europe

Can human tears sustain sea life? Kasia Molga will Stefan Laxness presents his investigation into narrate her journey from the conception of the the possibility of a rewilded Europe. Surveying a project, inspired by dealing with personal grief; cross-section of rural Spain through geographic through the impact of COVID-19 on her initial information systems and on-site sensing tech- idea; through the crazy set up of a make-shift niques, the investigation identifies spatial condi- wet-lab; to learning how to cry on cue; her efforts tions which reveal shifts in territorial occupation to keep tiny sea creatures alive in her tears; and considering systemic challenges: land abandon- attempts to develop an AI moirologist — a crying ment, depopulation and climate stress. By under- bot to help us all shed some tears. There will be standing rewilding as a process of negotiation and conversations on ritual, environmental anxiety transformation, Stefan seeks to reveal the latent and technology with fellow artist, professort potential of our rural areas and explore our rela- Teresa Dillon, while Margate and the North Sea tionship as rewilded citizens with architecture, will provide some context and an atmospheric land and wilderness. backdrop.

176 177 ARS ELECTRONICA GARDENS / Ars Electronica Journeys, STARTS Journeys STARTS Giulia Tomasello (IT): Alma — On The Way JOURNEYS Alma is a wearable biosensor designed to mon- These video commissions are co-funded by the European itor vaginal fluids. We strive to support and Commission’s DG CONNECT, in the framework of the Horizon 2020 educate women about their intimate health programme of the European Union under the S+T+ARTS initiatives through technology. Giulia Tomasello, designer Regional STARTS Centers. and co-founder of Alma, will guide you through the research and prototype development at the Fraunhofer IZM TexLab in Berlin. This journey is supported by Re-Fream and EU Horizon 2020. We want to thank all the women that have partic- ipated in the Alma meets Flora survey and in the

BeAnotherLab (INT): Between co-design workshops. You helped us develop the © Giulia Tomasello As a collective practice, Beanotherlab exists in educational tools and methodologies required to the spaces between disciplines, communities, shape the conversation around intimate female geographies, and methodologies. Distributed, but well-being and health in our society. interdependent. This tour presents a meditation on the uncertainties and sensitivities inherent in transdisciplinary collaboration. Guided by the metaphor of the stars/universe in contin- Karen Palmer (UK): The Future Crashes into the Present ual expansion, we discuss the borders between As the Storyteller her immersive film experiences. The broadcasts disciplines as sites of emergent possibility. An from the Future, Karen show the artist in conversation with a behavioral invitation to listen to an interrelated narrative Palmer takes the view- psychologist, an elite parkour coach and a techno

where sometimes you need different words to © James Read ers on a journey through activist to shed insight into the methodology and say the same thing, and familiar words gain new a series of broadcasts purpose of her work at this particularly crucial meaning. beamed back from the time, with some of the dominant themes being future, warning us of fear, surveillance, race, digital civil liberties

© Antonio Moras © Antonio what’s to come through and AI.

Charlotte Jarvis (UK): On the Eve of Uncertainty M Eifler (US): Prosthetic Memory

Charlotte is an artist who has grown her own When I tell you I have memory loss, you’ll likely tumor, recorded music onto DNA and is currently say “I forget things all the time! A name, my keys, on a quest to make ‘female’ semen. She has had where I parked, constantly.” ten international solo shows and featured in over But do you remember being a sticky wild-eyed one hundred and fifty group exhibitions. She kid? Or maybe you have a story from your early has been resident artist at a number of univer- 20s you love to tell, laced with seedy details. sities and scientific institutions, won the Bioart I have none of that. Instead of biological mem- and Design Award NL and the Alternate Reali- ory, I have been experimenting with alternative ties Commission UK. Charlotte is Research Tutor archives. Part material — paper paint, video, on Information Experience Design at The Royal audio, sketchbook, and ink. Part math — assis- © The Hubble eXtreme Deep Field © The Hubble eXtreme College of Art. tive intelligence, computer vision, and machine © M Eifler learning. Come in. I’ll show you around.

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Morphing Matter Lab (US): Morphing Matter is ? Robertina Šebjanič (SI), Gjino Šutić (HR): Adriatic Garden

As a physical embodiment of AI, morphing mate- rials. When our physical bodies are separated by Adriatic Garden will take viewers on a journey of that includes the values of care, kindness, com- rial is an emerging concept in science and tech- a global pandemic, our minds are still together. the Adriatic Sea. Adriatic Garden | aqua_forensic passion, environmental justice, action-taking, and nology. However, solely technological-driven Through the video, morphers from Morphing Mat- 2.0 combines two locations on the Adriatic Sea cooperation with the Adriatic Sea and its creatures. solutions are often short-sighted, biased, and ter Lab hope to bring audiences out of reality for with citizen science workshops on climate change Project framework: aqua_forensic is an ongoing art sometimes misled. a moment, to create a hopeful world where mor- and water pollution, underwater video / sound pro- science research project by Robertina Šebjanič (SI) and We use our own voice and creations to interpret phing matter can contribute to solving the social, gram, discussion panels and an exhibition program Gjino Šutić (HR). and reinterpret the meaning of morphing mate- environmental and political crises we are facing. © Living Yao

Pei-Ying Lin (TW): Communication with the Invisible

Uncertainty is everywhere. It is what we experi- ence when facing the unknown, but also when try- ing to communicate or negotiate with the invisible. It also shows up during the artist’s process of a creating a project. Pei-Ying Lin’s journey explores

this aspect by exposing the process of creation © Gjino Sutic of her project “Proposal of Collaboration with the Viral Entities.” Starting with an introduction to the project montaged with keywords and sketches, denoting the elements that make up the core of Pei-Ying Lin. Model: Yi-Ling Wu. From project project From Wu. Lin. Model: Yi-Ling Pei-Ying Tame. is to Tame Eebo (AT/UG): Eebo Video Tutorial the project, she follows up with a contact impro- visation dance accompanied by a monologue Eebo is a video platform in Uganda which aims to views with location owners who host Eebo boxes inspired by viruses, our society and their inter- Zwijnenberg, a philosopher in art and science, help creators market their content to viewers who to asking Eebo users for their opinions. The video actions and communications, where dancer Hsin which discusses artists during this time of uncer- pay for access to their work directly. For users to tour will also introduce local content creators, and Yu Chang will be responding with physical move- tainty. Pei-Ying Lin creates a series of inspirations access said content without internet cost, its strat- ask them how they use the platform, what it means ments. The last part shows a dialogue between which aim to demonstrate some of the aesthetics egy is to open up as many public WiFi hotspots as for them to be able to sell their digital goods to end Pei-Ying Lin and her scientific collaborator Miranda of her endeavor to communicate with and under- possible. The tutorial will take the viewer through consumers directly and how that affects their day de Graaf to discuss how we can get into the mind stand viral entities and our mental process of Eebo‘s history, from the office where the team is to day and creative process. In the end, viewers of viruses, and a discourse with Prof. Robert building an understanding of uncertainty. working in to the public WiFi hotspots, to inter- will also find out what their challenges are.

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Prof. Diethard Mattanovich (AT), Prof. Ingeborg Reichle (DE), Anna Dumitriu (UK), Alex May (UK), Sonja Schachinger (AT), Wolfgang Giegler (AT), Michael Sauer (AT), Günter Seyfried (AT): Fermenting Futures GUIDED

Fermenting Futures is an art and science ­project developed by the Institute of Biotechnology at the TOUR University of Natural Resources and Life Sciences,­ Vienna (BOKU), and conducted in collaboration­ with the Department of Media Theory, University of Applied Arts Vienna (Angewandte), as outreach for arts-based research. The project will intro- Barnaby Steel, Marshmallow Laser Feast (MLF) (UK) / Matthias Günther, duce some of the thousands of yeast species and Fraunhofer Institute for Digital Medicine MEVIS (Fraunhofer MEVIS) (DE) their characteristics, as well as synthetic biology methods to create new yeast strains with excep- The Tides within Us © Diethard Mattanovich © Diethard tional capabilities to make our lives better while preserving the planet. In a residency at BOKU the Barnaby Steel from Marshmallow Laser Feast, British bioartists Anna Dumitriu and Alex May will in collaboration with Prof. Matthias Günther and transform some highlights of this research into scicom-team members, Fraunhofer MEVIS, will sculptural artwork. take us on a unique trip into the human body. We will take a look behind the scenes, showing how artists and scientists profit from their collabo- ration and advance their practice. We start the tour at the MEVIS MRI lab, then we take a look into the MLF studio where medical data feeds an artistic vision. Together the partners have been Ai Hasegawa (JP): A Journey into Ai Hasegawa’s Practice working on a long-term collaboration The Tides Within Us. This project aims to challenge the In this video, Ai Hasegawa talks to collaborators, notion of the boundary between our bodies and scientists and experts about her projects around our environment. The skin creates a barrier, an science, sexuality, life, politics and institutions. illusion of separation between self and other. The She discusses her approaches to Human X Shark, Tides Within Us is due to premiere in the UK at a (IM)POSSIBLE BABY, The Extreme Environment major art event during autumn 2020. After a Q&A Love Hotel, Shared Baby, I Wanna Deliver a Dolphin, session for all, registered visitors can take part in among others. an online workshop with scientists Sabrina Haase and Dr. Hanne Ballhausen, using the web-based tool Insight Inside and interacting with medical images on their computers. © Ai Hasegawa

Marshmallow Laser Feast, Fraunhofer Institute for Digital

Medicine MEVIS with Erik Ferguson in collaboration Feast Laser Marshmallow

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POST-POSTCITY: Ars Electronica at JKU interested people attracted by the Ars Electronica Linz Institute of Technology (LIT): “Responsible Festival each year from all over the globe, the technology”– the values and mind-set promoted Gerfried Stocker (AT) new location promises to be an open-minded, by Ars Electronica couldn’t be better framed than knowledge-oriented, innovation-driven and col- in this condensed self-description of LIT’s vision- laborative environment for the participants and ary approach. festival visitors. This year, in contrast to previ- Finally, it goes without saying that the JKU cam- Farewell to POSTCITY . . . The Midlife Crisis of the Digital Revolution, which ous festivals, the on-site program of In Kepler’s pus program will be seamlessly integrated into In 2015, the Ars Electronica Festival used highlighted the fascinating history and successes Gardens at JKU campus will be smaller due to the local-physical networked events hosted by POSTCITY as a venue for the first time. With of the enterprise. It featured 1,449 artists and precautionary measures for coronavirus, and the festival in cooperation with partners in more an impressive area of almost 100,000 square scientists from forty-five countries and a total will focus even more on mediation and guided than 120 cities worldwide. In Kepler’s Gardens meters, unique architecture, gigantic halls, deep of approximately 110,000 visitors — a more than tours. The extended partnership between Ars thus initiates the new period of the Ars Electronica and branching catacombs, and expansive roofs- worthy end to an era. Still, to this day we are zeal- Electronica and JKU will be further expressed Festival at JKU, in the spirit of diverse forms of capes, it immediately sparked enthusiasm and ous about this brilliant space, and thankful to the within the local festival program, especially in collaboration, celebrating the pluralism inherent marked an evolutionary pivot for the festival. POST AG for enabling this development. the presentation of cutting-edge projects by the to art, science and society. There is no question about the transformative impact the space at POSTCITY had on the struc- . . . and off to new shores: the Ars Electronica In 2020, Kepler’s Garden will be the venue for three exhibtions: ture and atmosphere of Ars Electronica. Over the Festival at Johannes Kepler University - JKU LIT @ Ars Electronica next five years, both would become inextricably Finding fresh collaborations — or strengthening - Garden Exhibition linked into the new signature of the event, as the existing ones — plays a vital role when exploring - STARTS Exhibition many festival formats distinctly connected to new shores. This years’ inauguration of the new areas and floors at POSTCITY attest. Ars Electronica Festival site at the JKU campus Kicking off in 2015 with POSTCITY — Habitats is an exciting step towards an even more intense for the 21st Century, the festival explored what and fruitful partnership with the local university. constitutes a modern urban sphere in light of the In many ways, this is a very logical development, Digital Revolution tackling the topic from five considering the thematic affinities between both different angles: future mobility, future work, institutions and the international orientation so future citizen and future resilience. The 2016 intrinsic to the realms of art and science. Both edition, Radical Atoms — And the Alchemists of share a clear commitment to science, and a fact- our Time stepped even further out into the future, based, responsible way of dealing with each to feature astonishing projects interlinking the other, as a basis on which to develop a significant, digital and physical domains, and opening up a cross-institutional statement for science and art completely new way of looking at the exchanges in light of current and future challenges. between technology and nature. In the wake of JKU’s stunning location will also shape the festi- an artificial intelligence boom owed to companies val’s spirit and form, much like the POSTCITY did like Facebook, Uber and Co., the 2017 festival AI – in its time. Since its ground-breaking ceremony the Other I examined the imminent relationship in October 1966, JKU consistently evolved its between machines and human beings, with an course program and grew considerably in size. emphasis on ethical issues in the advent of rap- The campus now has an area of 364,000 m2, idly evolving machine learning systems. In 2018, encompassing 27 buildings as well as a beauti- Error — the Art of Imperfection took a closer look at ful park with a duck pond — the perfect setting to the concept of “error” from various perspectives; offer not only a variety of programs and formats, in the conviction that a sense of imperfection — an but to experiment creatively with the surround- elemental trait to our understanding of human- ings. In the winter semester of 2019/20, the uni- ity — is essential in a world of ever-increasing pre- versity had about 3,300 employees and 19,493 cision. Throughout its five years at POSTCITY, the enlisted students, almost 15 percent of the latter festival expanded quite a bit, peaking at with an international background. In combina- last years’ 40th anniversary Out of the Box — tion with the many scientists, artists and other

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Gerald Bast (University of Applied Arts), Meinhard Lukas (Johannes Kepler University)

rerum cognoscere causas, the cause of things. not reduce science to mere truth or art to beauty. Manifesto Innovation Beyond any reminiscing on the history of art and Science and art mutually benefit each other there science, ideas on education and research during where — despite their differences in perspec- the Renaissance deserve our attention today. tive,findings and methods — converge and ulti- through Universitas. Humboldt’s concept of universitas is also becom- mately intermingle with each other. Knowledge ing increasingly fitting again, during a time and sensuality, ratio and emotion — as well as marked by granular, nearly atomized knowledge empiricism and imagination — can intertwine to The University of Applied Arts, in alliance with Johannes Kepler University, aim to bring and increasingly meaningless specialization. The fuel and inspire each other. So let us bring some- something new into the world and to mediate university education through dialogue. humanistic educational canon enriched by the thing new into the world by transcending param- development of digital competence (and not mere eters and becoming involved in a dialectic of To do so, they are introducing the joint manifesto Innovation through Universitas. skills) can, and indeed must, be the European science and art, a synthesis of truth and beauty, educational system’s answer to meet the chal- and a symbiosis of knowledge and creativity. Let The more it seems like the world is coming apart Discovery was once a harmonious act, simul- lenges coming from East and West. In quanti- us accept the enormous challenges of our time at the seams, the more important it becomes to taneously involving science and art. The uomo fying the knowledge universities generate, this for the benefit of a humane and diverse society. search for what holds it together. This impetus universale, or universal man of the Renaissance, statement cannot be without consequences. The These are the aspirations with which the Univer- has driven academia for centuries, propelling sci- re-discovered the world through comprehensive fixation on citations, reputational rankings and sity of Applied Arts and Johannes Kepler Univer- ence and the arts to new heights. Only those rad- education, a critical spirit, creative power, and a surveys, external funding, the number of students sity aim to forge an alliance in support of inno- ical enough to get to the bottom of things will dis- humanistic attitude. He helped himself to all of actively taking exams, and other quantifications vation through universitas. May this alliance also cover something fundamentally new. These are this knowledge and the arts as if they flowed out fall short of the mark. Civic responsibility and serve as the momentum to broaden perspectives individuals who are dissatisfied with derivations of the same wellspring. He was only interested social relevance must be the dominant variables. in a so-called knowledge society and re-think the of what we already know and what is familiar. in the gist of the matter. Any questions regard- Universities are, first and foremost, society’s increasing economization of knowledge. They stand for eruption instead of deduction. This ing access, methods, and media were of sec- intellectual and scholarly centers. By virtue of is the only way to unhinge the world. Archimedes’ ondary importance, because he could follow any their autonomy and resilience, they must play a Complete version: statement rings true today and continues to serve and all paths and master all techniques. He was leading role in shaping social discourse. www.jku.at/en/news-events/news/manifesto- as a guideline in modern times. connected to Virgil by the longing to recognize Those who advocate for more universitas must innovation-through-universitas/

188 189 KEPLER’S GARDEN / JKU LIT @ Ars Electronica JKU LIT @ ARS ELECTRONICA Linz Institute of Technology, not only changes the speed at which decisions deception. An interactive, mock courtroom serves Johannes Kepler University are made, but also how they are made. Thinking as a ‘reality’ laboratory. Visitors are questioned about how a layman — who is unaffiliated with by an AI truth machine and asked to lie during the scientific community — will perceive a project questioning. The interrogation results raise ques- is incorporated into the initial concept and has a tions as to whether or not artificial intelligence lasting influence on the design process. can replace judicial decision-making processes, An additional consideration is knowing that artis- and focuses on both hazards and potential of ver- tic ideas repeatedly provoke and incite scientific ifying the truth via machine. and academic problems that, in the context of Robots Talking to Me is a four-part series focusing Christopher Lindinger (AT), Gerald Bast (AT) research, may seem unusual or even far-fetched on the impact that art and design has on the rep- and improbable. Pangolin Scales is a project in ertoire of research by not only radically re-defin- Creative Cohesion which users control a scaled, armored coat using ing the relationship between man and machine, their brainwaves. When activating a certain area but emphasizing fundamental changes in our The digital revolution, demographic changes, and approaches and unique individual projects. Turn- of the brain, certain scales on the armored coat work environment. Visitors involved with a virtu- the climate crisis addressing the complex, con- ing an idea into a reality throws into relief what move. In order to meet the artistic requirements, al-reality puzzle game titled Serum 13 work with flicting fields of our time requires an epistemic can be perceived and institutionalized as added a new type of brain-computer interface featuring a machine partner that provides recommenda- landscape that is conducive to traversing aca- values. Among this year’s goals is a call for pro- a total of 1,024 channels was created, capable of tions on decisions to obtain a life-saving serum. demic parameters. Crossing the borders between posals to support projects at the interface of art capturing data with a never-before-seen level of In an effort to analyze the psychological param- disciplines should be considered a starting point and science, as well as to create “Transformation resolution. The flowing, fluid boundaries between eters of communication and build confidence for possibilities — even essential as to interlink Labs”. science and art shift perspectives, inspiring inno- between the human and AI partner, the ­players them — rather than an act of deconstruction. The The Linz Institute of Technology at the Johannes vative methods, developments, and solution have to decide whether or not they want to Innovation through Universitas calls for a new, Kepler University published a special, two-stage strategies. A security loophole at the JKU’s Sci- believe what they are being told. transdisciplinary university culture. It signals open call for submissions, selecting a total of ence Park 2 building serves as a starting point A second step to develop transdisciplinary proto- the beginning of an alliance to support creative twelve “transformational projects” aimed at for a composition piece titled Exposed Building. types and implement joint project ideas involves innovation between Johannes Kepler University transfusing science and art. These will be on dis- A weak point in the building’s networked security creating “Transformation Labs” for scientists and Linz and the University of Applied Arts Vienna, play during the 2020 Ars Electronica Festival. The technology has affected the Science Park’s elec- academics at Johannes Kepler University, and systematically entwining art and culture with sci- call’s second phase focused on taking research- tronic locking system and the system has been for artists at the University of Applied Arts. Full ence and technological design to encourage and ers’ ideas and intensifying discourse with artists. taken over. By controlling the buzzers built into Dome is an immersive research and presenta- inspire symbiotic progression. It is a call to action, When it comes to observing just how art and the door locks, the building is transformed into a tion dome serving as a crystallization point for and an appeal to supporting transdisciplinary uni- science interact, the “Transformation Projects” walk-through, polyphonic, sound-emitting body. lab activities, opening up visual and emotional versity collaboration and creating procedures and have been extremely insightful and compel- The cacophony of sound revolves around how vul- levels of perception with stunning intensity. Two ‘real-world’ labs that can incorporate experimen- ling, demonstrating that initiatives centered on nerable “smart” buildings are, and again reminds “Transformation Lab” projects will use the Full tal approaches, both large and small. Tapping into bringing together art and science require applied us of subsequent risks. Dome as part of the 2020 Ars Electronica Festival. the transformative potential of various disciplines creativity. Knowing that a certain artistic work Art opens up an entire new realm of possibilities Cross Perception is a project that allows audience in order to acquire concrete insight into the future will soon be part of the Ars Electronica Festival to convey scientific research and its relevance. AI members to experience the algorithmic bias of of research and education requires pioneering and prominently displayed to a wider audience Truth Machine uses artificial intelligence to detect artificial intelligence and to explore the question

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Linz School of Education (AT) STEAM Popup Lab Since the boundaries of school subjects are rather artificial and hardly mirror the diversity of knowl- edge needed t understand important matters in depth, STEAM Popup Lab aims to blur those borders and highlight the importance of collabo- of what experiences and expectations shape the consideration. Removing disciplinary constraints ration between the sciences. STEAM Popup Lab audience member’s perceptions. drives progressive research, moving away from offers the possibility to create your own path by Just as certain information is inevitably discarded the more traditional, subject-specific sets of moving within a net of educational experiences, during machine learning procedures in order to rules, and serving as a gauge for student employ- where you can choose which direction to take. It model and compress data, humans also look for ability. The correlation between art and science in is a virtual journey to understand the meaning of simple explanations to multifaceted sensations tertiary education supports core skills for future patterns all around us. Patterns are everywhere, and sensory impressions. professions that include creativity and non-lin- from fractals in nature to blood vessels in the In order to mutually access various subject areas ear thinking, as well as flexibility and social human body, through the oscillating signals pro- and scientific disciplines, the Johannes Kepler intelligence. Dialogue between science and art duced by the sensors of a phone. You can control

University and the University of Applied Arts will is changing the research mindset and, in times robots, fold origami ­patterns, measure the signal © Alicia Hofstätter physically move closer together. Both institu- of unpredictability, uncertainty and fluctuating of a playground swing, be part of a live chemistry Linz School of Education, Johannes Kepler University tions will become part of the Center for Arts and cohesion, provides a new, vital foundation for lab session, and more. Supported by Land Oberösterreich Sciences located in Vienna at the former Postal contemporary universities to evolve beyond the Savings Bank. cumulative boundaries of tradition from past Designed by Otto Wagner, the Savings Bank decades. building will provide unique spatial proximity to The broadening of methodologicals horizons, Andreas Stelzer (AT), Rudolf Scheidl (AT) support transdisciplinary, scientific and artistic interdisciplinary advancement of knowledge Magic Darts synergies. The program will also include joint and dissolution of traditional patterns of behav- lecture series for extant degree programs, as ior are consistent with the complexity shown by or, when every throw is a perfect hit well as developing study and research formats our present-day networked systems. Character- Darts is a popular game, but difficult to master. Institute for Communications Engineering and RF- to interpret art and science as an entity, with- ized by tendencies towards specialization and In this version of darts, players always hit the System, Johannes Kepler University, Institute of Machine out questioning their respective, independent fragmentation, structures dating back to the Design and Hydraulic Drives, Johannes Kepler University / bullseye. What looks like witchcraft is revealed identities. Supporting transdisciplinary efforts in industrial age continue to be broken down as Supported by Land Oberösterreich to be a mechatronic system: a novel microwave research and education also raises a question part of the contemporary knowledge economy. sensor network detects the approaching dart, as to how academic performance is evaluated Transdisciplinary action is not an end in itself, algorithms compute its trajectory and continu- and assessed, taking alternative ways to mea- but rather, a powerful tool enabling universities ously estimate the place and time of impact at the sure success that perhaps do not include the to fulfill social responsibility by meeting current dartboard. Ultrafast hydraulic actuators enable number of publications and impact factors into challenges head-on. the dartboard to move the target into position in a few hundredths of a second. Such technologies will affect our future daily life: in autonomous cars, with microwave radars allowing us to see in the dark, with fog or dust; when algorithms need to estimate the motion of potential obsta- cles; or in exoskeletons, where hydraulic actua- tion enables ultimate compactness, low weight and energy consumption far beyond the limits of

current technologies. CAD-Rendering, Florian Wolfslehner from

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Institute of Robotics, Johannes Kepler University Linz (AT) LIT Robopsychology Lab, Johannes Kepler University Linz (AT) Robots in Action Robots Talking to Me

Fast and sensitive! How should robots communicate with people? ­physically interacts with the audience. The What voice makes AI assistants sound trust- project Vote Panel — The Future We Want invites Robotics in general, and industrial robotics worthy? Do we even have to listen to robots or you to vote on fundamental questions about the in particular, are perceived as unknown but should we always be in command ourselves? design and use of intelligent machines. For each omnipresent all at once. Robots are controlled Under the title Robots Talking to Me, the LIT question that is addressed on one of the haptic machines; created by humans to help humans. Robopsychology Lab presents four installations panels (e.g. Should robots simulate emotions?), Their control is getting more and more intelligent, that give tangible expression to questions of visitors can give a pro or con vote via a web inter- and exceeding human capabilities. By means of human-machine relationships and invite par- face. Intermediate results are displayed on the selected examples, the Institute of Robotics at ticipation: In the virtual reality game Serum 13, panels, thus capturing the voters’ mood in real Johannes Kepler University will showcase what players immerse themselves in the world of a time. modern industrial robotics means, and that it can biotech lab. Tricky tasks must be solved to pro- Serum 13: LIT Robopsychology Lab, Johannes Kepler be fun. Two industrial robots will serve drinks; duce a saving serum. An AI assistant is on hand to University, Polycular OG one will fill up a cup and the other will serve it on CoBot Studio: LIT Robopsychology Lab, Johannes Kepler provide support, but the question remains: When University, Ars Electronica Futurelab, Polycular OG, a tray. The catch is that the first robot will fling the JKU Robotics, © Inst. of to trust the AI, when to decide for yourself? CoBot filled cup through the air while the second robot Joanneum Robotics, Austrian Research Institute for Studio also takes you into virtual space. In the Artificial Intelligence OFAI, Blue Danube Robotics GmbH, balances a tray with four, fully filled cups. In the Institute of Robotics, Johannes Kepler University production halls of Rubberduck Inc., an indus- Center for HCI, University of Salzburg second demo, two collaborative robots will solve trial robot’s communication signals have to be Chimera: Joanneum Robotics the Rubik’s Cube. Credits Vote Panel — The Future We Want: interpreted and rubber ducks have to be sorted. LIT Robopsychology Lab, Johannes Kepler University, It’s about understanding in human-robot teams. Florian Reiche/Otelo eGen Chimera is a mobile collaborative robot that Supported by Land Oberösterreich Judith Igelsböck (AT), Friedrich Kirschner (DE), Sarah Buser (CH), Mónica Rikić (ES), Leoni Voegelin (CH), Tomás Montes Massa (CL), Laura Zoelzer (DE) Enacting Innovation

Enacting Innovation is a participatory staging Institut für Organisation, Johannes Kepler University of the social fabric surrounding contemporary Studiengang Spiel und Objekt, Hochschule für Schauspielkunst Ernst Busch innovation practices. Participants will negoti- Supported by Land Oberösterreich ate the roles and situations that are frequently encountered in innovation processes and act out conflicts with each other and the technical infrastructures typically employed within such contexts. The simulation is inspired by social scientific research on “innovation scripts” — the recipes followed in dealing with the omnipres- ent societal and economical pressure to prove innovative ability. The aesthetic dramatization of these innovation scripts aims to make inno- vation dynamics “experienceable” to the festival audience and provokes thinking about our powers and powerlessness when it comes to steering and interfering with processes of societal change and ©Friedrich Kirschner ©Friedrich © LIT Robopsychology Lab Robopsychology © LIT renewal.

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LIT Law Lab, Johannes Kepler University Linz (AT) Mathias Gartner (AT), Vera Tolazzi (AT) AI Truth Machine The Transparency of Randomness

The installation AI Truth Machine deals with the LIT Artificial Intelligence Lab, Johannes Kepler University The Transparency of Randomness is an interactive Institute for Theoretical Physics, Johannes Kepler chances and challenges of finding truth through LIT Law Lab, Johannes Kepler University installation through which visitors can directly University Converus® Special thanks to team members Andreas Ganhör, a machine. In a fictitious courtroom, the aim is experience the complex interplay of randomness Supported by Land Oberösterreich David Eilmsteiner, Michaela Haslhofer, Gabriel Häusler to determine who is better suited to distinguish and stochastics in current mathematical and and badcap.at. the truth from a lie in a court case: An artificial physical research. Supported by Land Oberösterreich intelligence or a judge? Before being questioned 27 transparent boxes, floating in space, contin- by the AI Truth Machine, a visitor is asked to lie uously generate random numbers through dice. about a given topic. In contrast to a judge, the Through a variety of natural materials, the ran- machine provided by Converus® determines the dom number generation process is influenced by truth in a completely different way. The AI-sup- the complexity of nature and its structures. The ported truth-finding process differs from the judi- ensemble of randomly generated numbers forms cial interrogation methodology in the extremely the basis for a real-time calculation that demon- precise analysis of eye movements and pupil strates the impressive role of randomness in sci- dilation during an interrogation. After completion entific research. Immerse yourself in randomness of the questioning, the result is presented and and become an active part of the installation with

the question is to be clarified whether an AI can © Shutterstock your self-generated random number. Tolazzi © Vera actually replace a judge.

LIT Law Lab, Johannes Kepler University Linz (AT) Leon Kainz (AT) Digital Government in a Box dancing water

processes in the box. The topics addressed are Visible Electrostatic Energy the networking of data stored in state registers underlying this installation is called electrostatic for (partially) automated administrative pro- induction, wherein the same charge carriers repel cesses, the autonomization of official decisions each other, and different ones attract each other. through the use of machines and the tension It enables the energy of the falling water drop- between data protection and data transparency. lets to be converted into electrostatic charges. The installation stimulates reflection on the pos- The objects have no need for electronics or sibilities and risks of digital administration, on hidden energy sources; only the water pump efficiency, citizen friendliness and fundamental needs electricity. rights limits of digitization. It aims to make cur-

© LITLawLab rent tasks for legal research visible and to point Leon Kainz: concept, know-how, implementation out differentiating solutions. Su-Mara Kainz: artistic accompaniment, video, photo The installation Digital Government in a Box shows Kainz © Su-Mara the mode of operation, potentials and limits of Yuti Kainz: artistic realization, illustration Institute of Experimental Physics, Soft Matter Physics a digitalized public administration. The visitors This installation is based on a simple physical Division (SoMaP), Johannes Kepler University LIT Artificial Intelligence Lab, Johannes Kepler University principle: the generation of electrostatic charges interact with the Digital Government via a futuris- Institute of Semiconductor and Solid State Physics, LIT Law Lab, Johannes Kepler University tic input terminal, all while visual effects enhance using water. The charged water droplets whirl Johannes Kepler University Converus® the experience. Accompanied by a short film, the in dynamic tracks around copper rods and react visitors experience certain digital administrative Supported by Land Oberösterreich to nearby bodies. The physical phenomenon Supported by Land Oberösterreich

196 197 KEPLER’S GARDEN / JKU LIT @ Ars Electronica

Johann Höller (AT), Thomas Lorenz (AT), Florian Gruber (AT), Ursula Niederländer (AT), Institute for Machine Learning, LIT AI Lab, LIT Robopsychology Lab, Tanja Illetits-Motta (AT), Raphael Blasi (AT), Andreas Rösch (IT), Stefan Küll (AT) Johannes Kepler University (AT); Inseq Design (AT) Treeversity K — JKU’s Interactive Robocar K is a likeable little robocar: small in size, but very smart on board! Treeversity focuses on the relation between com- plex data sets and the potential of data visualiza- Named after JKU’s famous patron, Johannes tion to convey complex information at a glance. Kepler, it drives itself autonomously on chang- JKU’s database contains approximately 268,000 ing terrain, can predict the movement patterns enrollment records on 153,000 students, facul- of pedestrians and playfully interacts with its ties, courses, rooms, exams, schedules and so on. environment. To correctly assess demanding A mirror of the University’s inner workings, dili- situations and derive fast driving maneuvers, an gently recording successes, failures and develop- aggregated use of technologies such as SLAM ments. A portrait of its life… (Simultaneous Localization and Mapping), Rein- Treeversity illustrates this life as a tree. Courses, forcement Learning and Image Recognition is

grades, and exams become branches, creat- © Lorenz TreeVsit, needed. Via its LED-equipped shell and nonverbal

ing different types of trees. Fully grown or still cues, K communicates inner states and intentions Robocar Skizze Foto nascent, withering or growing erratically. to the people around it. Our robocar might get Treeversity shows the university as a living forest, methods. With K, research at JKU in the fields of Each tells a story of the human behind it. You can annoyed if you block its path for too long but, for providing an instrument to analyze its mecha- AI, Autonomous Driving and Human-Robot Inter- imagine someone studying full-time, or balancing the mostl part, K is in a good mood. nisms at the same time. action is made tangible to all. work, study, and children all at the same time. K optionally shares its camera view and a visual Realizing a bad choice or having found their des- Institute for Machine Learning, Johannes Kepler University Institute of Digital Business, Johannes Kepler University representation of its inner perceptions in real LIT AI Lab, Johannes Kepler University tiny. Together, the trees reveal more. In all of the Ambientartlab: Thomas Lorenz, Florian Gruber time with an external screen. Audience groups LIT Robopsychology Lab, Johannes Kepler University studies, what are the conditions, the evolutions, Supported by Land Oberösterreich can thus “see through the eyes” of the robocar Inseq Design the successes, and drop-outs? and develop a better understanding of modern AI Supported by Land Oberösterreich

Michael Roland (AT), Michael Mayr (AT), Robert Holzinger (AT), Markus Vogl (AT) Melanie Baumgartner (AT), Florian Hartmann (AT), David Preninger (AT) Exposed Building The Elephant in the Room

The building evolves into an organism, kept alive New trends, ranging from bio-inspired robotics to and communicating with us through these chan- personalized healthcare and monitoring, create nels. At the same time they expose a vulnerability. undreamt-of possibilities for a worthwhile future. When we open its shell, through a maintenance Innovation that is sustainable is innovation that hatch or a control cabinet, we gain access to all remains. With this vision in mind, The Elephant sorts of vital parts of the building, in this case the in the Room presents how technology can prog- electronic locking system of the office rooms. By ress ecologically. Robots from biodegradable controlling the buzzers built into the door locks, and edible materials become state-of-the-art we transform the Science Park 2 building into through human-machine collaboration. The soft, an orchestra and it resounds like a huge walk-in nature-inspired designs imitate living beings in

© Michael Mayr instrument. The installation playfully provokes SoMaP and Division for Lab Materials Soft © LIT material, form and movement, and thus pave the thought about the vulnerability of modern tech- path to a smart, sustainable future. The slick surfaces of floors and walls conceal a nology and its growing risks for society. baffling array of pipes and cables that provide a Can we sustainably develop technology by design? This project is supported by the LIT Soft Materials Lab building’s essential logistics and infrastructure. A Facing ever-growing amounts of e-waste — 50 mil- Institute of Networks and Security, and Division for Soft Matter Physics (SoMaP), building even has a certain “intelligence” due to Johannes Kepler University lion tons of it in 2019 alone — sustainability must Johannes Kepler University the emergence of networking and automatization. Supported by Land Oberösterreich become a principle of research and development. Supported by Land Oberösterreich

198 199 KEPLER’S GARDEN / JKU LIT @ Ars Electronica

Thomas Faseth (AT), Harald Pretl (AT), Christoph Guger (AT), Anouk Wipprecht (NL) g.tec neurotechnology GmbH (AT) The Pangolin Scales BR41N.IO Hackathon 1.024 Mini Brain Sensors to control a Fashionable Dress The Brain-Computer Interface Designers Hackathon

The Pangolin Scales demonstrates the world’s between researchers from the Institute for A BCI provides a direct link between the brain and design and build a wearable BCI-headpiece that first 1.024 channel brain-computer interface Integrated Circuits at JKU, the brain-computer an external device. Twenty years ago, BCIs could can measure brain activity in real-time to create (BCI), which is able to extract information from interface experts from g.tec medical engineer- only spell or move computer cursors. Today, they any sort of interaction. The hacking projects use the human brain with an unprecedented resolu- ing GmbH and high-tech fashion designer Anouk are being used in many different fields of neuro- EEG electrodes and amplifiers, and challenge tion. This information is used to control the Pan- Wipprecht. science, such as motor rehabilitation for stroke programmers to code an interface that enables golin Dress interactively, and will be shown live Thomas Faseth, Institute for Integrated Circuits, patients, assessment and communication with them to control devices, robots or applications, on a model during the Ars Electronica Festival. Johannes Kepler University comatose patients, device control for disabled post messages on social media, make paintings, The 1.024 channel BCI will also be used as Harald Pretl, Institute for Integrated Circuits, people, cognitive training and neuromarketing. or enact a myriad other applications only with Johannes Kepler University an input device for the BR41N.IO Designers’ Machine learning, dry electrodes, wireless elec- their thoughts. BR41N.IO also challenges creative Christoph Guger, g.tec medical engineering GmbH Hackathon during the Ars Electronica Festival. Anouk Wipprecht, fashion-tech designer trode caps and other technologies are making minds to design a BCI headset with 3D printers, The Pangolin Scales is realized by a cooperation Supported by Land Oberösterreich BCIs more powerful and practical for a growing handcrafted materials and sewing machines. number of users. BR41N.IO aims to promote awareness of artificial The BR41N.IO Brain-Computer Interface Design- intelligence, life science, art and technology, and ers Hackathon Series has been created to show how these can merge into innovative and excep- these current and future developments, and the tional BCI systems. unlimited possibilities of BCIs in creative and scientific fields, bringing together programmers, BR41N.IO is organized by g.tec neurotechnology GmbH engineers, designers and artists. Each team must BR41N.IO is sponsored by IEEE Brain Initiative

IFG-LIT (AT) How to Become a High-Tech Anti-Discrimination Activist Collective

New technologies have penetrated all aspects of racism and sexism in new technologies and our lives and promise a wide range of improve- provide perspectives on how we can achieve ments and efficiencies. Contrary to general per- alternative and equality oriented technological ception, though, the algorithms on which these developments. Four participatory workshops with technologies are based are neither neutral nor do experts from different fields — Adriaan Odendaal, they treat everyone equally. They are as biased Adriana Torres Topaga, Andrea Maria Handler, as the structures, institutions and developers Astrid Mager, Doris Allhutter, Hong Phuc Dang, that make them, which means racism and sex- Karla Zavala, Martyna Lorenc, Nushin Isabelle ism are mostly unconsciously but systematically Yazdani — will implement analysis as practice. inscribed in their functions and outputs. The We would like to facilitate a creative conversation project addresses this problem and asks how and mutual exchange between experts, facilita- discrimination in the development and applica- tors and workshop participants. tion of technology can be overcome. Two lec- ture-performances by Safiya Umoja Noble and Project concept and organisation: Doris Weichselbaumer, © Jeff Cacossa Waltraud Ernst and Julia Schuster, Institute for Women’s Lisa Nakamura question how digital media (re) and Gender Studies (IFG), Johannes Kepler University shape our perception of ethnicity in particular, Linz, www.jku.at/ifg and identity in general. They uncover systemic Supported by Land Oberösterreich

200 201 KEPLER’S GARDEN FULL DOME

Martin Kusch, Director | Fulldome / VR & AR Lab Ruth Schnell, Head Department of Digital Arts, University of Applied Arts Vienna (AT) Fulldome / VR & AR Lab University Research Infrastructure Environment

Since its inception in 2013, the Fulldome / VR Applications and usage examples: & AR Lab at the Department of Digital Arts in _ Development of new artistic grammars in the Vienna directs and participates in an ensemble field of immersion of artistic research projects, with a particular _ Research of new narrative image and audio A compilation by the Department of Digital Arts, University of Applied Arts Vienna (AT) focus on the research and development of new concepts Fulldome Program: Future Room and digital applications for Fulldome, virtual reality, _ New concepts and formats in the fields and augmented reality environments. Blurring of virtual reality, interactivity, artificial

Liminal Spaces (re-edited) 360˚ film screening Roy © Sebastian the boundary between the physical and virtual ntelligence, gaming, online communities worlds and allowing users to experience a sense and social networks The Fulldome Program of the Digital Arts Depart- with the Department of Digital Arts, University of of immersion, these media environments have _ Interdisciplinary platform for new creative ment at the University of Applied Arts Vienna Applied Arts Vienna. Works by Martin Reinhart/ become increasingly pervasive and influential processes presents experimental immersive works in col- Virgil Widrich (AT), kondition pluriel (CA), and the in our daily lives. Questions and experiments on _ Interactive 360˚ virtual walkthrough to laboration with the University’s Science Visu- Science Visualization Lab, University of Applied holistic audiovisual spatial experiences and on produce a new quality of physical experience alization Lab, Trans-Media Academie Hellerau, Arts Vienna (AT) will be shown, among others. topics that are decisive for the future develop- _ Research and practical experiments in and the transdisciplinary performance company, ment of our society are central to the research perceptual research kondition pluriel. Future Room and Liminal Spaces lab. Since the inauguration of the Fulldome / VR Participants/Collaborators: (re-edited) reveal the artistic potential of the full- The Future Room was created by the Department of Digital & AR Lab, students, teachers, and researchers Fulldome / VR & AR Lab at Department of Digital Arts, Arts (Fulldome & VR/AR Lab) at the University of Applied University of Applied Arts Vienna. dome, as does the 360˚ screening of works by from many disciplines have been benefitting from Arts Vienna, in collaboration with kondition pluriel in the The Lab received financial support from Rector Gerald researchers, teachers, and students. the interdisciplinary exchange and knowledge- framework of the HRSM Project, Socially Aligned Visual Bast, University of Applied Arts Vienna; the European From abstract generative animations to politically Art Technology and Perception (SAVATAP). A cooperation sharing around these new methods of capturing, Union Culture Program 2007-2013, for E/M/D/L (Euro- relevant statements, the immersive experiences project of the University of Applied Arts Vienna (PI Gerald synthesizing, and re-envisioning our world. pean Mobile Dome Lab for Artistic Research), and for the in the fulldome program of the Department of Bast), the Department of Digital Arts (PIs Ruth Schnell, SAVATAP (Socially Aligned Visual Arts Technology and The dome installed at Ars Electronica is part of Martin Kusch) at the University of Vienna, the Department Perception), HRSM Infrastructure Project funded by the Digital Arts represent a diversity of artistic posi- the Lab’s infrastructure. of Basic Psychological Research and Research Methods Austrian Federal Ministery of Education, Science and tions. The Future Room is a participatory immer- (PI Helmut Leder) and the Austrian Research Institute Research. sive installation for a 360˚ fulldome environment for Artificial Intelligence (PI Robert Trappl), funded by Other ongoing collaborations are: SPOTOn Mozart Project, based on a speech recognition system. Audience the bmbwf. Concept and idea: Gerald Bast, Martin Kusch, with Mozarteum Salzburg / TRANSFORM Project, with Ruth Schnell, Peter Weibel; artistic concept and realiza- Johannes Kepler University and Donau University Krems members are wrapped in a cloud of information tion: Martin Kusch, Ruth Schnell. / Le-Fo Project, with University for Art and Design, as they voice their choices from an array of sub- Liminal Spaces was created by the Department of Digital Department of Interface Cultures and Donau University jects: Artificial Intelligence, Education, Energy, Arts at the University of Applied Arts Vienna, in collab- Krems; all supported by the Austrian Federal Ministry of Finance, Genome Editing, Migration, Politics, oration with kondition pluriel, Ruth Schnell, and the Education, Science and Research. Religion, and Work. The re-edited version of Lim- Trans-Media-Akademie Hellerau, Dresden. The 360˚ film inal Spaces is comprised of animations that treat screening section presents works by Laurus Edelbacher / the dome as an intermediary membrane between Johannes Lampert, Roman Hansi, Thomas Hochwallner, Patrick K.-H., kondition pluriel, Stefan Krische, Martin the inside and the outside. The 360˚ film screen- Reinhart / Virgil Widrich, the Science Visualization Lab, © Krämer Senwicki © Krämer ing section presents short films and animations, Peter Várnai, and the live performance Transient Topologies most of which were produced in collaboration by MONOCOLOR. 202 203 KEPLER’S GARDEN

Raumperspektive.com; Institut for Computational Perception, Johannes Kepler University Department of Digital Arts, University of Applied Arts Vienna (AT); Linz (AT); Cross-Disciplinary Strategies, University of Applied Arts Vienna (AT) Institute of Technical Mechanics, Johannes Kepler University Linz (AT) Cross Perception site-inflexion work in progress

Collaborative project of the University of Applied The machine recognizes an object, imagines how Arts Vienna and Johannes Kepler University Linz) it sounds out loud. The sound influences the in the context of the cooperation project TRANS- human expectation: Machine and human per- FORM, together with Johannes Kepler University ception become intertwined. The machine is not and Donau University Krems, funded by the Aus- always right; its pool of experience is limited. It trian Federal Ministry of Education, Science and transmits its bias to humans. Research. A limitless space. Everything moves — light, With the involvement of Kathrin Hunze, Thomas Hack, shapes and colors. Human and machine let their Raumperspektive.com; Silvan David Peter, Jan Schlüter, Institut for Computational Perception, Johannes Kepler sight wander and try to recognize something. The University Linz and Christine Böhler, Martin Gasser, human beings search for orientation, the device Cross-Disciplinary Strategies, University of Applied calculates. It has been optimized for this purpose Arts Vienna and fed with data. © Essl Hucek © Essl

Collaborative art and science project in the tangible audiovisual composition revealing the framework of “Innovation durch Universitas” inextricably connected nature of space and (University of Applied Arts Vienna and Johannes sound. Acoustic parameters manifest in visual Kepler University Linz) and TRANSFORM Project, distortions, allowing users to experience the spa- together with Johannes Kepler University and tiality of sound through the multisensory percep- Donau University Krems tion of our (urban) environments. This production involves real-time visualization and sonification site-inflexion is a cross-disciplinary collaboration software, ubiquitous computing, sensor net- between the Department of Digital Arts, Univer- works, tracking technologies, photogrammetry, sity of Applied Arts Vienna and the Institute of 3D-scanning, microphone arrays, laser-scanning Technical Mechanics at Johannes Kepler Univer- vibrometers, pre-rendered material, and mobile sity Linz. Artists and scientists from both univer- locative technologies. sities, actively engaged in creating media art and/ or pursuing innovative interdisciplinary research, The project is part of TRANSFORM HRSM, a collaboration between the University of Applied Arts Vienna, Johannes joined forces to create an interactive multisen- Kepler University, and Donau University Krems; funded sory environment for a mobile architectural dome by the Austrian Federal Ministry of Education, Science structure. The two research units intertwined and Research. Department of Digital Arts (Director, Ruth their artistic and scientific research methodol- Schnell), University of Applied Arts Vienna: Marian Essl (AT), Jakob Hütter (AT), Johannes Hucek (AT), Martin Kusch ogies and strategies to develop site-inflexion, (DE); Institute of Technical Mechanics, Johannes Kepler an immersive experience in a fulldome environ- University Linz (Director, Michael Krommer): Andreas ment. The purpose of the project was to create a Brandl (AT), Alexander Humer (AT), Astrid Pechstein (AT)

204 205 KEPLER’S GARDEN / Garden Exhibition

Mathieu Zurstrassen (BE) Above The Below GARDEN _ /bə'lo /

_ /bə'lo / is an exterior sound installation, featuring a pipe emitting an audio file emerging EXHIBITION from the ground. The audio file is a lecture from the book How to Analyze People on Sight, written in 1921 by Elsie Lincoln Benedict and Ralph Paine Benedict. The morphology of the artwork forces the listener to assume uncomfortable positions to listen to the file. It takes a while to understand the seven hour file is, in fact, a lecture of a book about the analysis of poses & postures, and for the

Mathieu Zurstrassen (BE) listener to grasp they are probably being analyzed Below, © The Above Zurstrassen by someone else. In the words of the Benedicts: god is dog spelled backwards “For life is largely a problem of running your own Production: M. Zurstrassen, 2019 car as it was built to be run, plus getting along This work was made possible thanks to the support of god is dog spelled backwards is a 360° kinetic which I would move the device in various con- with the other drivers on the highway. From this La Fédération Wallonie Bruxelles This project is co-funded by the European Commission’s book you are going to learn which type of car you artwork, and a tribute to Guy Debord’s La société texts and take short, 15-second videos. This is DG CONNECT, in the framework of the Horizon 2020 du Spectacle, first published in 1967. a way to share the importance of the context in are and the main reasons why you have not been programme of the European Union under the S+T+ARTS which an artwork is displayed to the public.” getting the maximum of service out of yourself.” programme’s Regional STARTS Centers. “In 2019, I finished this kinetic sculpture which Production: M.Zurstrassen, 2019 it meant a lot for me to complete. It had almost This work was made possible thanks to the support of Mathieu Zurstrassen (BE) spontaneously earned the title: god is dog spelled La Fédération Wallonie Bruxelles backwards. The choice of title seemed at first, This project is co-funded by the European Commission's to me, only an obvious orthographic evidence, DG CONNECT, in the framework of the Horizon 2020 Elsa on the Moon programme of the European Union under the S+T+ARTS an artifact intended to divert the attention from programme’s Regional STARTS Centers. Elsa on the Moon is a kinetic sculpture tribute to of the exclusivity of creation. At a time when we the relevant. It was also a nod to the Fluxus Elsa Von Freytag Loringhoven, eccentric baroness are starting to reveal the involvement of the other movement, for which I’ve always had a deep and contemporary of Marcel Duchamp; ambig- “genre” in contemporary creation, the creator fascination. That being said, I learned a little uously attributed with the creation Fountain, in seizes History as an element in motion, changing later — while trying to find any reasonable argu- 1917. Or was it Louise Norton? The fact is that, with every perspective. In an effort to somehow ment for this uncanny choice — that it had been in recent years, Fountain — already charged with a give shape to time, Elsa on the Moon acts as a actually used for the first time in 1967, to name sulphurous reputation — also poses the question pendulum clock that jumps every 30 minutes. a three-minute film directed by Dan McLaughlin. Like a small leap in a known and controlled land- The film features 3000 years of art history in just scape, it inaugurates a joyous reflection on cre- under three minutes. At a rate of eight works of ative veracity by focusing on the creation rather art per second to original music by Beethoven than its author(s). A perfectly balanced Elsa (5th Symphony). The artwork battery-operated slowly jumps as if she were freed from terres- and was at the basis of a short movie project in trial gravity. Production: M. Zurstrassen, 2019 The work was made possible thanks to the support of La Fédération Wallonie Bruxelles This project is co-funded by the European Commission’s DG CONNECT, in the framework of the Horizon 2020 programme of the European Union under the S+T+ARTS

Elsa on the Moon, © Zurstrassen programme’s Regional STARTS Centers.

206 207 KEPLER’S GARDEN / Garden Exhibition

Sebastian Wolf (DE) Christina Gruber (AT) lovesmenot Zugzwang lovesmenot is meant to hint at the often-ne- The Compulsion to Find a Common Baseline in Sound glected value of human action. It deals with an eternally relevant issue — automation as a bless- Zugzwang — German for “compulsion to ing. The technization of our every day is excit- move” — is a situation found in chess and other ing and leading humanity forward; however, the turn-based games where one player is put at a value of human labor, the value of craftsman- disadvantage because they must make a move ship and the arts are often forgotten. The human when they would prefer to pass and not move. element, poetry, emotions are optimized away. In this case, it explores how a non-human cen- In this sense, automation does not always yield tered approach towards the use of technology the best possible result. This work tries to reflect can help us to tune in with our companion species

that; in the most poetic way it mechanizes a Si Yagin © lovesmenot & environments. Sound can connect and, depend- deeply human action that is meant to answer ing on the vantage, received, propagated, and

one of the purest human questions “does he/she perceived. The attempt to tune-in with our envi- Gruber © Christina love me?” ronments opens possibilities to critically discuss questions around listening, talking, and connect- learn about our environment? Though access to ing with all our companions, living and non-living. machine learning allows us to interpret planetary Listening doesn’t merely extend to caring for each sounds, will this prevent further misunderstand- other, but to eavesdropping on other species to ings? How can we avoid a too human-centered prevent threats. But though sound is omnipres- perspective and start to think as a connected ent, we have problems understanding it. Mis- network, resonating on Earth? Simone Barlian (AT), Jan Phillip Ley (DE), Theresa Muhl (DE), Kerstin Reyer (DE), communication and distortion are constant. Can Sophie Netzer (DE), Lena Bammer (AT), Tobias Saatze (DE) listening once again become a central asset to AMRO — Art Meets Radical Openness, servus.at Research Lab Lochtopia feat. SISI

In ever faster, ever larger cities, private space is anonymity be broken and how can these places Domas Schwarz (AT) becoming smaller and smaller. We mostly move be reclaimed for the community? Cities are orga- anonymously through public space. How can this nized, manifested memories that have accumu- lated over a long period of time and come alive Derotation through physical interaction. The Internet acts as Derotation shows two objects which are rotating their digital counterpart and offers new spaces of in the opposite direction. The video of a windmill possibilities. To visualize and experience these is displayed on a rotating display and both rota- accumulated memories is only possible within tions happen at the exact same speed. As you communities, their stories and images. The proj- see the rotation of the mast around the center, ect Lochtopia feat. SISI poses the question: how it seems that the rotor blades are standing still. to connect concrete and digital urban spaces?

The speed of the animated rotor blades depends © Domas Schwarz In performative space scenarios, visitors can on the speed of the stepper motor. The microcon- appropriate public space with the help of digital can stand for consciousness and responsibility of troller and tablet get the synchronized data by space and record these manipulations of urban our ecologic footprint, but also for the problem of wireless lan connection as they react to different

© Sophie Netzer space in a digital, space-related archive. saving electricity. wind speeds. The power consuming usage of the

motor concurs with the renewable generation of Kunstuniversität Linz / Timebased Media energy through wind turbines. The whole process Markus Schmidinger

208 209 KEPLER’S GARDEN / Garden Exhibition

Sunjoo Lee (KR), Ko de Beer (NL) Jip van Leeuwenstein (NL) Machine in Flux — Wood A Diverse Monoculture

A documentation and cartography of time and Dionaea Mechanica Muscipula environment inspired by the growth mechanism The project A Diverse Monoculture questions the of the tree’s annual rings. The machine sensitively future relationship between mankind and nature: responds to changes of light, wind, temperature, is it possible to deploy robots to find a new bal- humidity and sound — and inscribes these influ- ance within our ecosystem? A Diverse Monocul- ences using ink on paper. It starts by drawing a ture is a family of several robot species, which circle, then follows its own line and continues to together form a hive of new predators. These draw the next line. The spiral motion enables the predators are used in an attempt to restore the machine to autonomously grow its own drawing balance within our ecosystem. The introduction which resembles the tree’s annual rings. Through of the robot predator within the ecosystem offers time a unique, unforeseen pattern emerges. The © Sunjoo Lee all the advantages of the predator without a loss finished drawing shows where and when the light Made in support from MAD emergent art center and of control. The first robot predator in the family had been shining, temperature fluctuations, the BioArt Laboratories is the Dionea Mechanica Muscipula, the creature direction and strength of the wind, and so on, Funded by Cultuur Eindhoven is designed to attract and digest oak procession- Some moths are allowed to remain in the mouth through the delicate differences in the countless Advised by Prof. Sass-Klaassen and Prof. Sterck from ary moths. The Dionaea Mechanica Muscipula is since they spread pheromones that attract other lines. It is an exploration into the smallest pro- Wageningen University & Research This project is co-funded by the European Commission's developed to reduce the population of oak pro- moths. The other moths are processed toward the grammable building blocks that make up complex DG CONNECT, in the framework of the Horizon 2020 cessionary moths, which are an increasing plague. stomach of the robot where a chemical reaction natural phenomena, and discovering the capaci- programme of the European Union under the S+T+ARTS These moths are active at night and attracted to of the Micro Fuel Cells will power the robot. ties of machines to emulate nature. programme’s Regional STARTS Centers. light. The robot will lure in nearby moths with

its light, situated in his mouth. The mouth acts Ilona Bradford, Bram van Leeuwenstein, Bart Verburg, as a trap, which contains the curious moths. Texas van Leeuwenstein Felix Lenz (AT) Political Atmosphere

Political Atmosphere is the result of a several-­ methods he used to forecast atmospheric tur- Marlene Reischl (AT) -months-long research process of tracing the bulence could be applied to predict political invisible connections between flight turbulence, turbulences like conflicts and war. By considering Still There climate change and war. About a century ago, contemporary climate science, this installation Lewis Fry Richardson — a British meteorologist further explores his hypothesis in the context Still There is a video installation dealing with irri- and peace researcher — theorized that the same of the Anthropocene. The complexity of these tation as a state. Situations in which the perceiv- ­relations is made tangible by means of a data- able does not appear to be clearly assignable can driven mechanical siren and an ADS-B antenna, cause discomfort, uncertainty and also fascina- which allows for receiving, processing and visu- tion. In an attempt to insert an inconsistent fact alizing the surrounding flight traffic. Each flight into your own logic, strange in-between stages slowly accelerates the latent build-up of poten- are produced that may seem eerie, due to their tial until a threshold is passed and a mechanism abstract aesthetics. Manipulated through Frame releases the siren. The roar of the siren, both lit- Blending, the computer transforms the images erally and metaphorically, has become a part of it has been given to generate new intermediate reality in conflict-torn areas. At last, it is starting ones by itself. to echo back on western society.

Produced at & with generous support of: Design

© Lukas Preisinger, Werkstätte Digitale Fotografie Werkstätte Preisinger, © Lukas Investigations (ID2), University of Applied Arts Vienna

210 211 KEPLER’S GARDEN / Garden Exhibition Lukas Truniger (CH), Itamar Bergfreund (CH), Bruce Yoder (US) Yinan Liu (NZ), Jermaine Leef (NZ), Uwe Rieger (DE/NZ), Holly White (NZ) Ethereal Fleeting Kōrero Paki (Our stories of the legends) A continuous series of clouds, generated by a Concept: Lukas Truniger, Itamar Bergfreund, Bruce Yoder A cultural journey performed through 3D silvery machine-like sculpture, float over their Artistic direction & visual design: Lukas Truniger Support: Burning Man 2018 Honoraria Art Grant, holographic sculptures on mobile displays surroundings and then slowly dissolve into thin Mirage Festival air. This seemingly natural phenomenon can be This project is co-funded by the European Commission's Kōrero Paki takes key moments from the Maori at the intersection of visual arts, performance, observed in strangely repetitive patterns. Its for- DG CONNECT, in the framework of the Horizon 2020 mythology and transforms them into 3D holo- and creative technologies, Kōrero Paki is a col- mation is programmed and conceals an algorith- programme of the European Union under the S+T+ARTS graphic sculptures displayed on personal hand- laboration between the arc/sec lab and Manaia M. mic poem, coded in the winds. The air is used as an programme’s Regional STARTS Centers. held devices. The Kōrero Paki project uses an arc/sec Lab: Yinan ephemeral storage medium, its content gradually anaglyph stereoscopic display method to create Liu (NZ), Uwe dissolving over time. This is a metaphor for our holographic mini sculptures. Viewed with simple Rieger (NZ), Kathy modern societies, where we are constantly — both red/cyan cardboard glasses, these sculptures Yuan (NZ) consciously and unconsciously — writing our sto- are perceived as hovering above the surface of Manaia M: Jer- maine Leef (NZ) ries in the atmosphere, and manifesting energy a smartphone and appear to be dancing in the and Holly White into tangible, if transient, forms. This installation viewer’s hand. The audio-visual content consists (NZ) is an attempt to synthetically reproduce a natu- of five chapters. These are presented in the form Artwork by Maori ral marvel outside its expected context. Though of abstract digital sculptures designed to remind Erstich (NZ) and Te Ahuora Macfarlane it might seem doomed to failure, it raises var- the viewer of “holographic carvings.” Using a Performing Artist: ious questions regarding how we interact with simplified motion capture process, a performer Eds Eramiha our environment, and our desire to imitate — and transforms the drawings into animated narra- The project is

eventually control nature. Truniger © Lukas tives. The overarching story includes the creation, funded by Creative the journey from Hawaiki, the significance of the New Zealand and supported by whale, the ceremonial welcoming onto the Marae, Jef Montes (NL) the University of © Yinan Liu, Uwe Rieger © Yinan Marinero traditional weaponry, and performing arts. Placed Auckland Tailored by weather

Inspired by the contrast of the sea and plastic pollution, Marinero is intended to create an archi- Yasuaki Kakehi (JP), Daisuke Akatsuka (JP), tectural blueprint that transforms organically Juri Fujii (JP), Yoshimori Yoshikawa (JP), Joung Min Han (KR) over the course of time due to different weather conditions. The blueprint is one woven square Air on Air that forms the basis for diverse variations. All produced Marinero fabrics are used (no waste). As we blow and make soap bubbles using our on the breath collected by online participants. Because the finishing is already incorporated breath, we sometimes feel our presence within This online installation allows participants to look within the woven pattern, the materials take the floating bubbles. This work is a participatory at the sky in a remote location across a distance. their shape from the various conditions rather physical installation that connects distant lands And it also gives them a way to communicate to

than using traditional cutting and tailoring tech- © TEAM PETER STIGTER online with bubbles. The breath blown by an the remote location ”physically” through soap niques. The vision is to design a new kind of pro- online participant is detected by a microphone bubbles in these times of restricted mobility. meteorological conditions such as: rain, heavy duction system resulting into adaptive garments on the tablet or the PC and transmitted to the wind or drought. Project Members: that grow with us individually. The weavings have installation site as data. A bubble machine at Yasuaki Kakehi, a warp of monofilament and a weft of integrated S+T+ARTS, Aitex textile institute Alcoy, Empa material the installation site then creates soap bubbles Daisuke Akatsuka, variable threads. In addition to weaving, we will laboratories St.Gallen, Haratech 3D print, Wood K Plus based on the strength and length of the breath Juri Fujii, Yoshimori also experiment with knitting techniques. The Linz, Johannes Kepler university Grand Garage Linz, IED data. The bubble machine is also equipped with a Yoshikawa, Joung Min Madrid university of design, Fashion & Technology univer- Han, Special Thanks: combination of these threads causes friction webcam, and online participants can see the bub- sity Linz, TextileMuseum/TextileLab Tilburg, Wageningen Wataru Date bles as if you are blowing soap bubbles in person and results in dynamic shapes during different­ University Research, Creative Industries Fund NL Yasuaki Kakehi Lab., at the venue. At the installation venue, multiple The University of

machines line up, each releasing bubbles based Tokyo Kakehi © Yasuaki 212 213 KEPLER’S GARDEN / STARTS Exhibition

STARTS EXHIBITION EDEN: Olga Kisseleva studio Kisseleva EDEN: Olga

STARTS is an initiative of the European Commission art, technology and science that have the poten- to foster alliances of technology and artistic tial to contribute to sustainable economic and ­practice that effectively implement European social innovation. ­policymaking to nurture innovation and that This year‘s exhibition of selected winner and ­benefit the art world as well. The focus is on STARTS projects showcases current best prac- people and projects that contribute to mastering tice approaches for responsible innovation in the the social, ecological and economic challenges fields of bioengineering, ecology, artificial intel- this continent faces. The STARTS Prize is awarded ligence, policymaking as well as communication annually to innovative projects at the interface of and media technologies. Design by Decay, Decay by Design: Ally Schmaling Design: Ally by Decay Decay, Design by Manganiello c o m p u t e r 1.0: Victoria _ Design by Decay, Decay by Design: Andrea Ling (CA) _ EDEN — Ethique — Durable — Ecologie — Nature: Olga Kisseleva (RU) _ c o m p u t e r 1. 0: Soft Monitor: Victoria Manganiello (US), Julian Goldman (US) _ Perception iO: Karen Palmer (UK) _ plasticpreneur: doing circular (AT) _ SOCIALITY: Paolo Cirio (IT) _ Topographie Digitale: DataPaulette (FR) _ Hybrid Living Materials: The Mediated Matter Group (INT) _ aqua_forensic: Gjino Šutić (HR), Robertina Šebjanič (SI) _ Re-Textile 3D: Ganit Goldstein (IL) _ The Wrong: David Quiles Guilló (ES) Perception iO: Karen Palmer iO: Karen Perception _ CONTAIN: OpenCell (UK) Cirio Paolo SOCIALITY:

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garden of talents How are experts actually created? The individual- ity of each person arises from innumerable pos- sibilities, which seemingly develop into concrete interests as if by chance. Is an interest already a talent, or does the intensive examination of a cer- tain topic become one? Is talent really inherited? Whatever the case may be, talent should be encouraged. If left hidden for too long, it will wither and die. But giving a talent the right kind of importance is often the real challenge in a young person’s development. If too much pressure is exerted, interest can fade. If too few opportuni- create ties to try it out are given, uncertainty arises and © Philipp Greindl weakens self-confidence. One thing is certain: everyone has talents, and their diversity creates a wealth we want to be able to share. Autonomy and your Democracy Self-determination and independence are import- ant developmental steps in the life of a person. One needs and also wants to take responsibility world and acquire independence. Coupled with the sub- jective talents of each individual, this results in different needs, to which different educational systems must regularly readjust in order to enable 2020 collective decisions and further development. These elements are cornerstones of democratic processes and fundamental to our social growth. This year’s create your world festival invites young people and the young at heart to create social and creative closeness — with physical distance. An © Philipp Greindl exchange network will share projects, ideas and talents. This platform for education, experiments and different future scenarios will show a great variety of young experts, all of whom can learn from each other.

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PRIX ARS ELECTRONICA

u19–create your world Exhibition future walk YOUNG CREATIVES AND YOUNG PROFESSIONALS Bettina Gangl (AT), Birgit Pölz (AT), Helmut Doblhofer (AT), TeilnehmerInnen Virtual Office FAB Linz (AT) This year’s u19 exhibition will invite all winners was divided into two sections. First, ideas and to exchange ideas and projects with each other. projects could be submitted to YOUNG CRE- The young people at the Virtual Office have thought different strategies, they will visualize their fanta- Their “homebase” will be the physical exhibition ATIVES (up to age 14). This sub-category about autonomy and how automated processes sies, dreams and fears. They share their thoughts of the projects, where the winners can explain impressively demonstrates how children can and AI will influence our future lives. Through and future visions in an augmented reality walk. these to other artists and visitors. help shape the present and future from their They will share their talents and show the audi- own perspective. For YOUNG PROFESSIONALS ence of Ars Electronica Festival their view of (14 — 19 years), innovative lateral thinkers who possible future scenarios. In 2019, the Prix Ars have developed an artistic or critical project for ­Electronica’s u19—create your world ­category the world of tomorrow are in demand. robodrum The robodrum project is a robotic setup con- sisting of 4 KUKA robotic arms equipped with drums, which doesn’t aim to replicate a human performance exactly, nor to be better or faster than one. Instead, it becomes an algorithmic sys- tem that allows visitors to leave acoustic traces. Rather than playing in front of one big audience, the robots tirelessly play for many small ones, with each group adding to the previous data. This is enabled through Ableton Live’s capture tech- nology, which can take human input, analyze it, and turn it into a loopable drum pattern. Creative Robotics (UfG Linz) developed a system to con- nect the audio software with industrial robots, so that musical tasks can be intelligently assigned to multiple machines. Through the gentle support of technology, one can create complex loops with- out needing training or even the physical capa- bilities to do so, while becoming an experimental output device for experienced musicians. © Philipp Greindl Creative Robotics, UfG Linz (AT): Johannes Braumann, Amir Bastan, Martin Schwab Ableton AG (DE): Andrew Robertson, Brian Smith Award Ceremony Technology: Ableton Live using Capture and beat The award ceremony of the category u19— are awarded here. This year, the event serves as ­detection technology with Ableton Push create your world is the real highlight of the a kick-off for the subsequent networking oppor- 4x KUKA Cybertech nano KR6R1820 robots Supported by KUKA Roboter CEE ­create your world festival. All 24 winning projects tunities within the create your world festival. © Johannes Braumann The AIxMusic Festival, a S+T+ARTS flagship event, is organised by Ars Electronica and the European Commission.

218 219 CREATE YOUR WORLD Loss of the Night Helga Kuechly and Chris Kyba (DE) ACTION LAB The Loss of the Night team explains how light pol- Participatory Science against Pollution lution affects our view of the night sky, and how Leibniz Institute of Freshwater Ecology and Inland Fisheries (DE) our experience can be transformed into data. The presentation will kick-off a 24-hour global obser- Pollution is one of the most critical contemporary and citizen-led.­ Join us to explore light pollu- vation, where teams around the globe will tune in environmental challenges. To tackle it, every- tion, noise pollution, air pollution and hands-on to show us what the night sky is like in their loca- one must be involved. The ACTION Lab offers a ­mitigation of bioplastic pollution. tion, with the help of the Loss of the Night app. chance to engage with cutting-edge citizen sci-

ence projects that are not only addressing pollu- The project has received funding from the European tion, but also working within the ACTION project Union's Horizon 2020 research and innovation programme Sonic Heritage of Inner City © Bit Lab Cultural SCCL Cultural © Bit Lab to make citizen science participatory, inclusive under grant agreement No. 824603. Barcelona Marc Aguilar and Víctor Jiménez (ES) Bit Lab Cultural Cooperative work on Noise Maps with residents of Raval to gather audio recordings using audio moths placed around the city, and Street Spectra — Join Tired Moths and Quiet Stars learn how to best investigate urban noise. the Streetlights Hunting! Sibylle Schroer (DE) The Tatort Streetlight project works with citizens Schools and the Science of Lucía García (ES) and schools to research the effect of the design of Turn your smartphone into a scientific instrument Air Pollution street lamps on flying insect populations. Join the using a cheap diffraction grating. The Street Spec- Sonja Grossberndt (NO) team at Brandenburg maker-hub Verstehbahn-

tra citizen science project lets you get surprising Together with teachers and students, the team © Nuria Castell hof, where local teenagers will be gathering data pictures of the colourful spectra produced by the from NILU shows us how to make low cost air about pollution; before touring the four Tatort streetlamps in your neighborhood. The informa- quality sensors, and how to best use them to Streetlight locations and learning how to identify tion gathered in this project will help characterize investigate air quality. flying insects. light pollution sources in your city so that experts can assess the impact of the global switch-out of What is Noise? older street lighting to new LEDs. Interdisciplinary Discussion Marc Aguilar and Víctor Jiménez (ES) The team behind Noise Maps invite international experts in noise and sound to discuss our atti- tudes to noise, its effects and affect, and our agency in shaping soundscapes in this panel dis- © Laura Martinez© Laura cussion with time for audience questions.

Bioplastics and the New Materiality of Waste Idil Akdos (NO) How do we dispose of new materials safely? The CitiComPlastic team investigate how bioplastic waste can be safely transformed into compost. Join them to discuss how new materiality inter- faces with environmental issues, and how we need to change our practices, structures, policies © Lucía García García © Lucía © Sophia Denn SCCL Cultural © Bit Lab and perspectives to address this. 220 221 CREATE YOUR WORLD

CoderDojo CoderDojo Linz (AT)

The CoderDojo is a club for children and young people who want to learn programming and have fun doing it. In regular meetings, they learn how to write code, develop websites or program games and apps. Children and teenagers between the ages © Tom Mesic of 8 and 17 get connected with each other and with mentors who themselves work in coding. Since the concept of a dojo is all about Conferences learning, no previous knowledge is necessary and participation is free @ create your world of charge. The community around the coding dojos has grown large in recent years, and it has since begun Symposium “Perspektiven politischer Bildung” to meet online. The spirits I called — Artificial Intelligence and its impact on Society, Democracy and Education

Artificial Intelligence (AI) is omnipresent, without where AI has already “thought along” or even us always being aware of it. It has been making taken over thinking completely. our daily lives easier for many years, and it can manipulate humans. Can it become a danger to An event produced jointly by the Upper Austria Teach- democracy? This symposium will explore how er-Training College, Upper Austria Chamber of Labor and artificial intelligence already influences our lives, Ars Electronica © Philipp Greindl The Civil Society of the Future From Acute help in the Crisis to the Driving Force in Social Innovation Unabhängiges LandesFreiwilligenzentrum ULF (AT) Tourismus von morgen When, if not now, should we talk about the future It is necessary to develop instruments and strat- Ars Electronica, Oberösterreich Tourismus (AT) of civil society? egies from the many new, creative forms of civil Within the framework of the long-term project If we already assign certain intelligences to As with the refugee conflict in 2015, the corona society that have emerged during the acute “Tourismus von morgen” (Tourism of ­Tomorrow), machines and our realities continue to change crisis of 2020 highlighted the role of civil social phase of the crisis, and that will help promote submissions from the pool of the Prix Ars rapidly, how will we communicate with each engagement. Once again, it became clear how sustainable social innovation. Our symposium Electronica category u19—create your world were other as individuals, pass on knowledge, share much the initiatives, associations, NGOs, NPOs with experts, activists and decision-makers will selected for a commissioned project together with experiences? What will inspire us, what will we and individuals we consider as “civil society” can focus on what these approaches might be, who the organization Oberösterreich Tourismus. They draw strength from, what will we want to free our- do. But now that we have overcome the first shock and what it takes to establish them and, last but invited young artists to explore what tourism could selves from and what will calm us down? What will of the crisis, we must start to shape the much not least, what we can all actually expect from mean for the next generation. What will the world ­challenge us and what will teach us? talked of world after — or rather, alongside — corona. the “civil society of the future”. look like if we fast forward fifty years? 222 223 CREATE YOUR WORLD

Master Class Audio Design Goes Interactive Tagtool Connect: Hybrid Online/Offline Projection Master Class Audio Design @ St. Pölten University of Applied Sciences (AT) Art Jam session In the age of digital technologies, the world of and industrial research. The Master Class Audio Tagtool Crew / OMAi (AT) audio design has come to encompass a spectrum Design allows students to experience a wide of professional profiles and orientations so broad range of audio designs. This is made possible For their fourth appearance at Ars Electronica connect from their studio (or sofa) and perform that it is hard to keep track of. by focusing on four projects which all students Festival, OMAi present the first public online for an audience on the other side of the world. It includes everything from traditional music pro- design, develop, plan, implement and evaluate multiplayer­ Tagtool session, with selected inter- This also facilitates hybrid performances, where duction — be it in the field of recording technol- independently over the course of four semesters. national artists joining forces over the internet to some artists perform locally, and others join vir- ogy or creative musical interpretation — to live From this year’s semester projects, three were create spontaneous projection art. Tagtool is an tually. At Ars Electronica Festival, OMAi will host a sound on film sets or at stage events, and sound selected to be presented at the Ars Electronica app that transforms a multitouch tablet into a live hybrid outdoor projection session with live contri- design developments in the area of video games Festival. visual instrument. By connecting a digital projec- butions from several experienced Tagtool artists tor, artists can paint and animate collaboratively working remotely from their home countries. For on walls or over entire buildings. Tagtool is used those who can’t make it in person, the event will by creatives around the world, has received mul- be streamed on Twitch. Join the jam! //Soundescape music producers in the genres of industrial and tiple awards, and was featured by Apple in videos warehouse techno. The tool itself is an Ableton Live shown at the WWDC keynote in 2014 and 2016. At Ars Electronica Festival, the Tagtool Connect is part Thomas Maislinger (AT), Stefan Nebel (AT) of our SySTEM 2020 programme. SySTEM 2020 has audio effect device using Max for Live. During the corona pandemic, OMAi upgraded the A MIDI based music-adventure game introducing received funding from the European Union’s Horizon 2020 existing functionality for local multiplayer ses- Research and Innovation Programme under Grant players to modal music scales. In order to fit the sions to work over the internet. Now artists can Agreement no. 788317 given musical background structure, randomly Schallabsorber generated melody pitches must be chosen within Lukas Zeiler (AT), Theresa Kühmayer (AT) the appropriate musical mode. A metronome The aim of this project is to call attention to the helps find the right timing for hitting the keys on ever-growing amount of textile waste in our society.­ the attached MIDI keyboard. The project is based The European Union produces more than 5.8 on Unity 3D including Audiokinetic WWISE. million tons of textile waste each year, of which only 1.5 tons are recycled. All remaining waste is incinerated. Our redesign of the common porous Rumbler absorber combines functional sound absorption Dominik Lanterdinger (AT) and sustainable thinking. Instead of using foamed A software tool to quickly create ready-to-go rum- plastic, we construct with wood and regional tex- ble sounds, it provides a sonic basis for electronic tile waste such as old towels, clothes and cloth. Lichtgedichte First Multiplayer Session Bridge, © OMAi GmbH Bridge, Session Multiplayer First Lichtgedichte //Soundescape, © Thomas Maislinger Schallabsorber, © Lukas Zeiler

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#festivalstories Code Poetry Cornelia Travnicek (AT) Young filmmakers, young talents, young profes- SySTEM 2020 has received funding from the European sionals are asked to film mini-documentaries The Vienna Code Poetry Slam was established ity and virtualization and a renowned writer and that capture their perspectives and impressions Union’s Horizon 2020 Research and Innovation in 2015, inspired by a similar event taking place poet herself, started a cooperation between the of the festival’s themes. Instead of one general Programme under Grant at Stanford University. Code Poetry celebrates Lower Austrian writer’s association Literaturkreis documentation of the festival, eight short stories Agreement no. 788317. the fusion of human and machine language, the Podium and the student body of the Technical will be produced, including different slots and inherent poetry of technology and the poetic pos- University of Vienna, which led to the first Vien- protagonists. sibilities technology opens up for art. It is also a nese Code Poetry Slam being held in the Festsaal means of self-empowerment for writers, enabling of TU Wien in 2015. Admission of contributions them to be meta-creators of digital art and plac- to the Code Poetry Slam is open to everybody, ing them at the top of the creative process at a just as it is at a typical poetry slam but, due to time in which computer programs are already technical issues, code poetry must be submitted generating certain kinds of texts for everyday online in advance. The code poetry is then pre- Reparatur der Zukunft usage. Cornelia Travnicek, a computer scientist sented at the event and the audience chooses a employed at a research center for virtual real- winner for the night. Österreich 1

With the Repairing the Future initiative, Ö1 wants to address the questions of 20 to 30-year-olds and give their ideas more space. Ars Electronica is presenting two projects around this theme:

Smart Tattoos Katrin Unger (AT)

It is a challenging task to design a flexible pH © Didi Drobna sweat sensor that is bio-compatible, has skin- like elasticity and is sustainable in acidic envi- ronments. In this project, polymer electrodes are ink-jetted or screen printed on temporary tattoo paper and coated with a bio-compatible pH responsive hydrogel via initiated Chemical Vapor Deposition. Such sensors have a remarkable sen- sitivity to pH. This novel combination allows for a very thin sensor, excellent conformal adhesion to the skin and great pH sensitivity which, in ­combination, open the door to a wide range of © Lunghammer, TU Graz © Lunghammer,

interesting applications. © Didi Drobna

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Conferences

Home Delivery COVID-19 Crisis Ars Electronica x Digital Cross Over Scenarios and Prospects for the Future: How to Proceed? Walter Ötsch (AT) We’re coming to you! If you cannot come to the intensive intellectual, artistic and human contact, Ars Electronica Festival because of the global exchange and dialogue. Part of this format are The COVID-19 crisis is not only a natural phenom- economically — moves many: What scenarios lockdown, the festival will come to you. Home the panels Business Models for Online Contents enon: it is also a social one. It underscores how are possible? We invite people from the fields Delivery is a full day conference with a focus on and Get.Inspired — presenting interesting, diverse vulnerable individual countries are, and whether of philosophy, sociology, economics and media global pandemic responses. Digital platforms, practices and approaches with a focus on digital and how they are able to respond to the pan- studies to take part in a public discussion of these contents and approaches which have evolved and virtual projects, virtual events, platforms and demic. Beginning in spring 2020, society, politics, questions and to offer suggestions for the future from the pandemic crisis — emerging from the contents. media and the economy have been under unprec- of our society. network and made manifest through it — will edented scrutiny: Do they have the strength to This conference is realized within Digital Cross Over and be presented. Nothing seems more important co-funded by the Creative Europe Programme of the act appropriately? It is clear that, in economic Introduced and moderated by Walter Ötsch, Pro- at the moment than to connect and maintain European Union terms, this is the biggest crisis in 100 years. The fessor of Economics and Cultural History at the question of how things can continue — not only Cusanus Hochschule für Gesellschaftsgestaltung.

2020 — Finally Digital?! Autonomy—Democracy Blockchain.art how our perception of AI is already changing our society, our view of democracy curated by Christina Steinbrecher-Pfandt (DE), Renger van den Heuvel (NL) and how we deal with public opinion 2020 started with a bang that made the art indus- old reliance on in-person interaction. However, Curated by Renata Schmidtkunz (AT) and Gerfried Stocker (AT) try pivot away from its established codes of con- across the art industry’s network of galleries, art- duct almost overnight for sheer survival. From ists, institutions, auction houses, and biennials, “What’s frightening about AI isn’t terminators and super intelligent machines: it’s the the exchange of courtesies to remote work struc- the speed of adaptation and ability to process the way AI works to centralize knowledge and power in the hands of those who already tures, old customs required immediate redesign ongoing iterations in order to find a customized have it and further disempower those who don’t.” in response to the crisis. As a result, the online response has varied dramatically. Meredith Whitaker space gained even more significance as the only The conference will feature notable members of platform for business and commercial transac- the art industry and their assessments of the art The symposiums addresses questions of how to about defending against AI, about preventing it, tions, affecting even the art industry and its age- world’s digitization progress over the past year. deal successfully and sensibly with “the digital”, but on the contrary, it is about empowering us, to use it as our tool, but also learn not to let every- as a society and as individuals, to benefit from thing be “pushed in our face”. Self-determination the promising possibilities of this technology. The and personal responsibility, curiosity, creativity, symposium is curated by Renata Schmidtkunz, a empathy, are therefore central key competencies, journalist, filmmaker, Protestant theologian and especially in the digital age — probably just as presenter at ORF. She is especially known for her important as programming. In the end, it is not Ö1 series of talks.

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AIxEcology Ars Electronica x Austrian Council for Robotics and AI

The panel on AIxEcology will focus on the impor- counteract it, as more and more projects try to AIxArt&Society tance of computer-controlled systems for ecology fight it through data and artificial intelligence. Ars Electronica x Artificial intelligence Lab and the environment. Artificial intelligence can be However, the enormous potential of AI also car- used to save water, stop species loss or detect ries great responsibility, including ethical and A series of panel discussions will be presented artistic experts together in order to contribute plants in the field. By optimizing the monitoring social issues, but also security and control risks, as part of the European ARTificial Intelligence to a critical and reflective debate beyond the of ecosystems, a significant contribution can be as in, for instance, the question of how systems Lab this year. technological and economic horizon of artificial made to reduce the risk of climate change and can be protected from unauthorized access. Every evening, there will be one panel dedicated intelligence. to a different topic, aiming to elucidate and edu- cate about the impact of AI on society. The panels The European ARTificial Intelligence Lab is co-funded by will bring AI related scientific, technological and Creative Europe Programme of the European Union. AIxDemocracy by IMPAKT: Radicalization by Design Ars Electronica x IMPAKT

Social media platforms are feeding the raw mate- wars. Radicalization by Design will discuss the rial of youth culture directly into the nationalist question of whether our media are radicalizing us. AIxHumanity populist insurgency that is currently sweeping In connecting us, are social media also tearing us Ars Electronica x Amnesty International Austria through the planet. Evoking the fear of an exis- apart? How do trolls, conspiracy theories, memes tential enemy at the gates of Fortress Europe — or and fringe platforms impact politics today? The Machines can accomplish repetitive tasks with ­interrogates our current understanding of human- more often, an enemy within — this new political panel discusses issues of freedom of speech, absolute precision. With recent advances in ity. What challenges and opportunities does this style is especially successful in the online culture extreme speech and deplatforming. artificial intelligence, they are also gaining the entail? ability to learn, improve and make autonomous How can artificial intelligence be used to protect decisions, in order to fulfill that were previously and increase human rights? What are the respon- thought to depend exclusively on human exper- sibilities of industry, research, politics and civil AIxUncertainty tise, creativity and intuition. societies? In cooperation with Amnesty Inter- Ars Electronica This means algorithms, artificial intelligence, national, this panel will address precisely these The AIxUncertainty panel focuses on the limita- What problems do artists face? machines and robotics hold potential that questions and discuss them with experts. tions and uncertainties artists face when devel- What frameworks must be created for artists to oping their work in the frame of AI. access their latest research? This panel will draw What are the challenges for collaboration at the insights from leading experts in the field to crit- intersection of AI and the arts? ically discuss possible new developments and The New Real: Experimental AI and the AI Lab What progress can be seen, and where is it failing? opportunities. Ars Electronica x Edinburgh Futures Institute

The New Real explores the boundary between the driven online content and interaction are being real and the artificial as we attempt to emerge challenged like never before. into and understand the so-called New Normal. The New Real is presented in partnership with AIxMusic Panels Individual and collective resilience is predicated Edinburgh International Festival, as a project of Ars Electronica x AIxMusic Gardens on the wider use of networked, online tools and the Edinburgh Futures Institute that takes on the Under the title Artificial Stupidity, this year’s AIx- on challenges and future directions for the link environments by the majority of the population vast sweep of these issues through the lens of Music panel will discuss the (de)mystification of between computers and art. What are its actual in a huge diversity of professional, domestic and two particular online artistic inquiries. A space for the hype around AI through its role in music. possibilities and limitations when AI is used for leisure settings. At the same time, the crisis is discussion and debate will be created in response Additionally, we have invited high-level partner music composition, production and performance? unfolding in a context in which trust in data- to experiences of the pandemic. institutions, including IRCAM, the Royal Institute

of Technology of Stockholm (KTH), BOZAR, Open The AIxMusic Festival, a S+T+ARTS flagship event, Austria and Sónar+D, to host panels on the inter- is organised by Ars Electronica and the European section of AI and music. The program focuses Commission.

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Women in Media Arts Key Notes Ars Electronica Ars Electronica

In 2016, Ars Electronica launched one of the larg- all female artists working with digital means as In this edition of Key Notes, the focus will be on will give insights on current research, artistic est online databases for women in media arts. a tool for artistic expression. A whole program extraordinary female visionaries that are forming projects, and experiments. This database, first dedicated to the women focus was thus established and will be presented the very world we are inhabiting now and for gen- pioneers of Ars Electronica, was then opened to this year in two panels. erations to come. Thought leaders in the digital with Christina Agapakis, Jonah Bryson, ethics of AI and bridge-builders with business Lynn Hershman Leeson and Neri Oxman

The Women in Media Art: Telematic Performance Future Humanity Journey Alexandra Murray-Leslie (NO), Claudia Schnugg (AT) A day in 2040 — What would our day look like in 20 years? This panel will investigate approaches in telem- technical influences of the visual components of In this project, four experts from diverse back- The final scenario and video presenting the high- atic collaborative art production and telematic A/V performances. Ximena Alarcón will contrib- grounds were invited to discuss the future of lights of the session will be shared at the festival. art reception through the voices of four artists ute insights on liminal space from a migrant’s per- humanity, from global-scale issues to more sub- The audience is also invited to further discuss and researchers experienced in the cutting/edge spective, and Anat Ben David will provide specific tle daily joy. This discussion is integrated into a and expand on the vision of the Future Humanity production of telematic performances and collab- insights from the vantage of music production. short film that shows an imaginary day in 2040. Journey. orative music production. The panel will be opened by representatives of Alexandra Murray-Leslie (co-founder Chicks the city of Linz who will inform about activities on Speed) and Claudia Schnugg will trace the and measures of equality in Linz. beginnings of the female tradition in telematic art and present the All Women’s Networked Jam This project received support from the equal treatment Session. Tina Frank will illustrate the effect and office of the city of Linz. The Civil Society of the Future From Acute help in the Crisis to the Driving Force in Social Innovation Unabhängiges LandesFreiwilligenzentrum

FEM When, if not now, should we talk about the future necessary to develop instruments and strategies Women in Art, Science and Technology of civil society? As with the refugee conflict in from the many new, creative forms of civil soci- 2015, the corona crisis of 2020 highlighted the ety that have emerged during the acute phase of The panel On Roots and Fruits is a collection of projects carried out by individuals who identify role of civil social engagement. the crisis, and that will help promote sustainable talks from some of the founding members of as women to contribute to (a) the development Once again, it became clear how much the initia- social innovation. Our symposium with experts, FEMeeting: Women in Art, Science and Technol- of research methodologies in art and science and tives, associations, NGOs, NPOs and individuals activists and decision-makers will focus on what ogy on the impact of its conferences and other (b) the development of collaboration strategies we consider as “civil society” can do. But now these approaches might be, who and what it community activities, and their perspective on that can increase knowledge-sharing and bring that we have overcome the first shock of the cri- takes to establish them and, last but not least, the future development of women in art, science communities together. sis, we must start to shape the much talked of what we can all actually expect from the “civil and technology. FEMeeting aims to disseminate world after — or rather, alongside — corona. It is society of the future”.

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STARTS Day Expanded Animation 2020: Innovation at the Nexus of Science, Technology and the ARTS Ars Electronica x STARTS Appeal of the Analog Ars Electronica x Upper Austria University of Applied Sciences The Science+Technology+Arts = STARTS Initia- projects implementation, methods and impacts. Hagenberg Campus tive is a program of the European Commission to This year’s program covers a broad spectrum of encourage synergies between the arts and tech- topics, ranging from the potential of Art Thinking In collaboration with the Upper Austria University ents theoretical positions and perspectives from nology that support the innovation industry and in the STARTS field to best practice examples of of Applied Sciences’ Hagenberg Campus, the 8th the art world, the R&D field and the industrial society. STARTS promotes the inclusion of artists collaborations between art, science, industry and Expanded Animation symposium carries on a pro- sector. Its mission: To function as a driving force in research and innovation activities throughout research; shedding insights into urban manufac- cess launched in 2013: to map the wide-ranging advancing interdisciplinary discourse. This year’s Europe. The STARTS Day offers insights into turing and the future of fashion design, and tack- domain of animated worlds of imagery beyond symposium, under the title Appeal of the Analog, collaborative practice at the intersection of art, ling the role of artists in envisioning the future of well-trodden paths. The symposium stays the offers several panel discussions on current trends technology, science and industry. Different dis- cities and urban planning. course originally set at its inception, and pres- in the extended field of computer animation.

cursive formats, presentations and networking This event is realized as part of the STARTS Regional sessions showcase extraordinary work, including Center project and co-funded by the European Commission. Prix Forum Ars Electronica

The Prix Forum is a platform for sharing cut- What is “+” of Interactive Art in the Age of Uncer- ting-edge art forms and elucidating their role tainty? (Interactive Art + Category) in society through talks and discussions by this What does community mean to you and how do year’s Prix Ars Electronica winners and jury. you try to leverage communities to drive social This year’s Prix Forum the following themes in change? (Digital Communities Category) each category will be discussed: What is “Animation”? — How do you “Animate” the work? (Computer Animation Category) © Jürgen Grünwald © Jürgen © vog.photo DIRTY LIVES BETTER Speech of the Ministry for Homelandtrash and International STUDIOTOPIA — Affairs followed by press conference Barbara Ungepflegt (AT), Elsbeth Wallnöfer (IT) Science. Art. Anthropocene. dumplings. Pollution is necessary and inevitable Ars Electronica x STUDIOTOPIA if the rampant cleanliness mania in Europe is to Society may be reeling from a series of unex- STUDIOTOPIA is a European initiative that seeks be stopped. First steps have been taken. Bar- pected economic and existential crises, but many to activate the collaborative and interdisciplinary bara Ungepflegt makes sure there is more dirt ominous and all-encompassing global catastro- expertise required to face these future challenges and filth, declaring war against everything clean. phes are still ahead. by implementing an inverse art and science resi- This is the only way for people to grasp the DIRTY The Sustainable Development Goals adopted by dency model. Scientists from diverse disciplines LIVES BETTER program that the minister and her the United Nations in 2015 offered strategies responded to an open call to work alongside team are striving for. DIRTY LIVES BETTER is a to face these looming challenges by providing a and learn from leading European artists. At this major package of measures that Minister Barbara © Jana Enz “blueprint to achieve a better and more sustain- year’s Ars Electronica, future problems will be Ungepflegt and Elsbeth Wallnöfer, chairwoman in able future for all.” To act on this blueprint, we explored and future solutions hypothesized with Since December 2017, Barbara Ungepflegt has the home country, have put together to lead civi- require diverse expertise and experimental and the broadcast beginnings of a 17-month conver- been Minister for Homelandtrash and Interna- lized society into a bright dirty future. The Minis- innovative approaches. sation between artists and scientists. tional Affairs. She takes care of dirt, waste and ter will present the DIRTY LIVES BETTER program best relations between foreigners, animals and at the 2020 Ars Electronica Festival.

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Best Practices for the Conservation of Perspectives of Political Studies Media Art from an Artist’s Perspective Upper Austria Teacher-Training College Rafael Lozano-Hemmer (MX) The spirits I called — Artificial Intelligence and its impact on Society, Democracy and Education For the past five years, media artist Rafael will adopt them and create realistic expecta- Lozano­-Hemmer has been developing a system of tions for potential collectors. This presentation Artificial Intelligence (AI) is omnipresent, without where AI has already “thought along” or even procedures to help his studio deal with the main- will outline what media artists may choose to do us always being aware of it. It has been making taken over thinking everywhere. tenance of hundreds of computerized artworks on the subject of conservation in order to i) sim- our daily lives easier for many years, and it can manipulate humans. Can it become a danger to that are in collections around the world. plify their lives, ii) generate income, and iiii) take An event produced jointly by the Upper Austria Teacher- In this talk, Rafael will go over the main methods ownership of how their work will be presented democracy? This symposium will explore how Training College, Upper Austria Chamber of Labor and to accomplish this, in the hope that other artists in the future. artificial intelligence already influences our lives, Ars Electronica

Networked Archives STEAM INC. Ars Electronica STEAMhouse, Birmingham City University

In a world in which we increasingly rely on online short presentations of the panelist’s current STEAM thinking is a process promoting collab- across Europe are explored within the STEAM content, media art archives and platforms are projects and thoughts on the topic, these ques- oration between the arts, science, technology, INC project, with best-practices presented at this no exception. The Networked Archives panel tions about accessibility and attractivity, added engineering and maths. year’s Ars Electronica. addresses their role in making media art acces- values and joint efforts needed will be discussed. It is an integrated approach to education, prop- The conference offers inspirational examples of sible online, and highlights various approaches Before the panel, a talk will be given by Rafael agated from STEM, that acknowledges how the integrative and interdisciplinary education and to the field. As archives and metadata are central Lozano-Hemmer, who will reflect on the role of artistic qualities of creative and critical thinking explores how they be could be further adapted issues and the base for the digital content sec- the artist in the process of archiving media art are indispensable to innovation. Diverse innova- and implemented within other educational and tor they are evolving into important online value and later join in on the debate. tive STEAM approaches in higher education from cultural contexts. chains. How can archives be monetized, contrib-

ute to the developments in the media art markets This conference is supported by the Federal Ministry and form base for online platforms? Following Republic of Austria for Arts, Culture, Civil Service and Sport Symposium UNCANNY FRIENDS Department of Media Theories (Gloria Meynen), University of Art and Design Linz, in collaboration with IFK Vienna (Internationales Forschungszentrum Kultur­ wissenschaften) and the Working Group Data and Networks, Gesellschaft für Medienwissenschaft

From delinquent to influencer, the profile has had robots, but ourselves as well. Fifty years after a surprising career. Hardly a day goes by with- Mori, the symposium invites us to walk through out a new one. They are touched all the more the “uncanny valley” again. It is not the androids eerily when, through AI, their digital doubles that seem uncanny to us, but the always-on inter- awaken to a second life. Robots that resemble faces, the Siris and Alexas who make contact with humans too much instill fear and terror. Like us, us, unasked and unnoticed, recording and dou- but never familiar, they inhabit the “uncanny bling life until their expiration. Lectures, readings valley”, a metaphor defined by roboticist Masa- and performances question the uncanny doubles hiro Mori in 1970. Today, the uncanny valley has between man and machine, face and interface, almost disappeared. What remains is a suspicion: fact and artifact, data and speculation.

© Philipp Greindl that the ghosts and the undead are not only the

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AIxMusic Workshop Program Workshops Ars Electronica

With the aim to facilitate audio production, we embedded technologies and a 64 Kb competition. invited partner institutions to give a hands-on The Royal Institute of Technology of Stockholm workshop on artificial intelligence and music. (KTH) will be hosting an interactive music lesson, Digital Cross Over Workshop During a hackathon, forty participants divided where the machine folk music school teaches an International Music + Media Centre x Ars Electronica into six groups will be faced with different chal- AI-generated folk tune in the aural tradition. lenges. Philippe Esling, from IRCAM, will present The AIxMusic Festival, a S+T+ARTS flagship event, is Digital Cross Over is a cross-sector project within from other industries who are or have been fac- techniques for lightweight AI, a demonstration of organised by Ars Electronica and the European Commission. the Creative Europe funding programme of the ing similar challenges? The invited experts will European Commission. As part of this project, elaborate on best practices for tools, platforms, Ars Electronica will organize an expert workshop methods and frameworks for digital content and to discuss and explore the current challenges how these can be monetized for both institutions faced by creative and cultural industries today. and creators. BR41N.IO Hackathon Who pays for the content created by cultural and The Brain-Computer Interface Designers Hackathon creative professionals? How do I reach my tar- Digital Cross Over is co-funded by the Creative Europe g.tec get group in the digital age, and how can I learn Programme of the European Union. The BR41N.IO Hackathon brings together pro- fiers, and challenge programmers to code an grammers, engineers, designers, artists and/or interface that enables them to control devices, enthusiasts, who collaborate intensively as an robots or applications, post messages on social interdisciplinary team. Each team must design media, make paintings, or enact a myriad of other and build a unique, playful and wearable head- applications only with their thoughts. BR41N.IO piece that can measure useful EEG signals in also challenges creative minds to design a BCI real-time to create any sort of interaction. The headset with 3D printers, handcrafted materials hacking projects use EEG electrodes and ampli- and sewing machines.

How to Become a High-Tech Anti-Discrimination Activist Collective Institute for Women’s and Gender Studies, Johannes Kepler University Linz

New technologies have penetrated all aspects of inscribed in their functions and outputs. Two lec- our lives and promise a wide range of improve- ture-performances and four workshops address ments and efficiencies. Contrary to general per- this problem by asking how discrimination in the ception, though, the algorithms on which these development and application of technology can technologies are based are neither neutral be overcome. nor do they treat everyone equally. They are as biased as the structures, institutions and develop- Project concept and organization: Doris Weichselbaumer, Waltraud Ernst and Julia Schuster, Institute for Wom- ers that make them, which means racism and sex- en’s and Gender Studies, Johannes Kepler University ism are mostly unconsciously but ­systematically Linz, www.jku.at/ifg

240 241 CONFERENCES, LECTURES, WORKSHOPS Art Thinking Program Hakuhodo (JP) x Ars Electronica (AT)

Art Thinking Forum — Humanizing Technology

“Art is a catalyst for shaping a better future society.”

The Art Thinking Forum is a platform for discussing ­discussing the cultural and social challenges we the role of art in the future through cutting-edge face, the role of humans, and how we have the examples of creative chemistry between various potential to shape our future. Meanwhile, Hakuhodo disciplines and art, and sharing expertise on how has used its sei-katsu-sha inspired creativity to to utilize art for a better society. create new value for society by staying in step Art Thinking is a process to question common with our changing values over the decades. sense that each one of us has a compass for What does Humanizing Technology look like to through practice and dialogue. In the age of help humans be human, rather than human-cen- uncertainty, when the conventional wisdom of the tric, in pursuit of convenience and efficiency? world has been turned on its head, Art Thinking is This symposium invites activists who are becoming more and more important. practicing Art Thinking in art, industry and society Ars Electronica has always been interested in to talk about the roles and benefits of art from © Ars Electronica Futurelab © Ars Electronica the impact of new technologies on our lives, in their perspectives.

Creative Question Challenge

“Creating Questions for the Future.”

The Creative Question Challenge (CQC) is a new The CQC’s online platform doesn’t only provide a brainstorming format in which speakers explore live experience of CQC’s taking place around the and present creative questions in a 30-minute world, it also provides access to previous CQC’s. dialogue. In addition, reactions to those CQC’s, or actions

In the year 2020, the world is facing many chal- on the questions generated, are also visualized lenges due to the virus called Covid-19 and the and encourage new participation. distortions caused by it. In the new, uncertain The CQC is based on the Future Innovators Summit future of our everyday lives, there is the need for (FIS), which has been held at the Ars Electronica a space to discuss the essential questions for the Festival since 2014. Both FIS and CQC were incu- future, rather than easy solutions to problems. bated in collaboration with the Japanese com-

The CQC brings together two speakers from dif- munication and design company Hakuhodo. Ars Ozaki / @ Tsukuru Summit Tokyo Innovators Future Initiative Tokyo Ars Electronica ferent disciplines and backgrounds, with a facil- Electronica and Hakuhodo are working together itator called Catalyst to create questions for the to promote Art Thinking, through experiments world to ponder within a 30-minute time limit. such FIS and CQC.

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Last year’s launch of the AIxMusic Festival at ­practices developed in conjunction with artificial the extraordinary site of St. Florian Monastery intelligence, with special attention to its poten- was a huge success. It proved to be a prom- tial to facilitate networked remote collaboration ising starting point for a platform that doesn’t among musicians. In light of the difficult situation only address important issues on the ethical and presented by coronavirus, digital information and creative dimensions of artificial intelligence, but communication tools became crucial solutions also brings together great minds from a variety for artists to interact and perform at all. How- of disciplines on an international scale. As a fore- ever, it is also clear that artificial intelligence har- runner and early adopter of technology, music is bours even greater possibilities for a networked the ideal medium to spark a debate around these approach to music, which is why Ars Electronica topics. Thus, for the second time, Ars Electronica wants to contribute to the steady research and is organizing the AIxMusic Festival in collabora- development of the field, by actively encouraging tion with the European Commission as part of interdisciplinary experiments with this technol- the STARTS initiative. In 2019, the program was ogy. Due to the hybrid structure of the festival this focused on artistic improvisation through artifi- year, the program includes on-site performances cial intelligence to provoke human encounters in Linz and other locations worldwide that will be and emotions, and to giving a broad overview of streamed or showcased entirely online. The online the historical and theoretical dimensions involved platform invites different professionals — artists, in the interplay of music, composition and tech- musicians, composers and researchers — to dis- nological progress. cuss human-machine interaction alongside con- This year, the AIxMusic Festival provides deep certs and performances, conferences, workshops insight into the latest research and artistic and online exhibitions.

THE MAIN GOALS OF THE AIxMUSIC FESTIVAL ARE: _ to bring together artists, creators, computer scientists, philosophers, industry people and policymakers. _ to explore the complex and fascinating relationships between culture and technology. _ to celebrate the human spirit, creativity and ingenuity, as they find their expressions in the arts, as well as in science and technology. _ to better understand the impending disruptions and forces that will result from new developments, and the increasing presence of autonomous digital systems. _ to develop the necessary skills and strategies to stay ahead and in control of ongoing changes, especially as relates to new applications of machine learning in many areas of our daily life. _ to comprehend and strengthen the synergies and potentials of STARTS (Science The AIxMusic Festival, a Technology and Arts) collaborations as a source for discovery and innovation. S+T+ARTS flagship event, is organised by Ars Electronica _ to initiate new ideas and alliances towards a specifically “European way” for a culture and the European Commission. and humanity-driven development of AI technologies and applications. AIxMUSIC

Yuri Suzuki (JP) The Welcome Chorus

The Welcome Chorus is an interactive installation will recognize tonal changes in the voice, tempo comprised of 12 interactive horns situated on the and specific words, then produce a short melody Southern Terrace beside the entrance to Turner based on the visitor’s entry. Every few minutes, Contemporary, inviting visitors into the gallery the Welcoming Choir performs a short piece space. As a collaborative work, it utilizes Artifi- based on the previous hours’ input. This contin- cial Intelligence to create a sonic experience for ual engagement creates unexpected moments as the visitors. There are two ways to engage with visitors enter and exit the gallery. Every moment Radiomargate © Kate Chorus, The Welcome the Welcoming Choir. First, with local musicians’ is unique. help, lyrics and melodies were created at work- shops to generate the sound library. These were Turner Contemporary, Arts Council England, Pentagram then fed into the AI for output at the Turner Con- Design LTD, Fish Fabrications, Counterpoint. Spe- cial thanks to: Gabriel Vergar II, Alice Lazarus, Adam temporary. The second method is to encourage Cheong-MacLeod of Pentagram Design LTD, Eire Szadurski, visitors to speak into the sculptures, which will Sam Fish of Fish Fabrications, and Samuel Diggins and generate musical feedback from the AI. The AI Tero Parviainen of Counterpoint Studios. Pluvial, © IvoFaber, KIT Duesseldorf KIT Pluvial, © IvoFaber, Braga © Alex SPLEEN MACHINE,

Kerstin Ergenzinger (DE) Pluvial Alex Braga (IT) Pluvial is a sono-tactile architecture that follows density and intensity of collected precipitation SPLEEN MACHINE the associative and physical quality of rain noise. measurements on the world‘s oceans. The physi- Alex Braga explores the relationship between machines will never replace us. It connects the listening body with a sonic, ani- cal body of the drum cloud acts like a set of band- future, art, society and technology, between man- But beware: nowadays spiritual gestures are mated and partly self-organizing instrument. An width filters. In addition, each drum is equipped kind and machines. becoming meaningless for humans as well. If we acoustic environment arises that unfolds in time with a feedback pendulum allowing the rhythms SPLEEN MACHINE documents years of Alex Bra- let go our humanity, we also reliquish our grasp and space. The eighty-channel sculptural instru- of the individual drums to diverge further. ga’s research in the field of AI, and the creation on the beauty and meaning of life. This has been ment consists of self-made, digitally controlled of a new musical instrument called A-MINT, which defined as the new Digital Humanism. We are the drums that work according to the String-Drum is the keystone to so-called “Augmented Music”. guardians of the Meaning of Life. Machines are the principle and use the shape memory alloy Nitinol Developed and produced in collaboration with Thom Laepple. In SPLEEN MACHINE, a robot seems stuck in a force to help us forge the future. as instrument string. Their metallic resonance Part of the research project “Rhythmic Textures,” funded mystic crisis and begins to pray. Though exponen- tubes lift and lower at the heat-sensitive, kinetic by Einstein Foundation Berlin. Realized with the Graduate tially more efficient than humans, machines will Alex Braga: concept — music — visuals nitinol strings, sending and knocking swelling School at the Berlin University of Arts. never succeed in connecting to a metaphysical Music AI software: Alex Braga — Francesco Riganti rhythms and rushing harmonies through space. Affiliated with and supported by the research project Fulginei — Antonino Laudani world, were the meaning of life itself is shaped. In analogy to the phenomenon of rain, these nuClock. (nuclock.eu) Visual AI software: Alex Braga — Francesco Riganti Supported by the SMArt® Steps Program of Dynalloy.Inc That is why humankind will always be the center- string drums are driven by random on-off volt- Fulginei — Antonino Laudani — Massimiliano Nicolardi Working with open source data of the Ocean Rain And Ice- piece of our sustainable development, and why Robot: Istituto Italiano di Tecnologia, Nikos Tsagarakis age pulses, which in turn are modulated by the phase precipitation measurement Network (Ocean- RAIN)

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Artemi-Maria Gioti (GR), Szilárd Benes (HU)

Bias, for bass clarinet and Interactive Camel Zekri (FR), Marc Chemillier (FR) Music System Gnawa Machine

A neural network, trained to simulate my own decision-making. By training a neural network This duo was formed in Athens for the ImproTech The guitar is then transformed into a controller aesthetic judgments, is responsible for the com- to predict my aesthetic preferences, I aimed to 2019 Festival, which is dedicated to improvisation equipped with motion sensors. It controls a sec- puter’s decisions during its interaction with the create a new hybrid agency that is based on, yet with intelligent digital systems. The challenge of ond system, Le Cercle, which dialogues with the musician: i.e., whether it will “mirror” the sounds departs from, my own aesthetics. The decisions Gnawa Machine is to integrate the computer in first one. The two machines listen to each other played by them, propose new sound material or made by the computer during its interaction with a particular cultural context, that of the Gnawa and improvise on what the other is playing. Djazz simply remain silent. The title Bias refers not only the musician cannot be entirely attributed to my Brotherhood in North Africa, of which Camel Zekri records with long-term memory, while Le Cercle to the subjective nature of aesthetic judgments, own preferences, as these are “distorted” through is a member. His modal guitar playing is accom- captures small fragments on the fly. but also to machine learning algorithms making AI bias. The result is a hybrid human-machine panied on keyboard by Marc Chemillier, assisted arbitrary or erroneous assumptions about data. agency that shapes the performance in dynamic by the Djazz system, which learns automatically The ambiguity in the title is a comment on the and, at times, unpredictable ways. by expanding its memory and follows the tempo ImproTech Festival, IRCAM & CAMS-EHESS (Djazz soft- unattainability of objectivity, thanks to a score- following algorithm. ware, http://digitaljazz.fr), LISILOG (Le Cercle software) both in human judgment and in data-driven models. On a second level, Bias explores the relationship between AKA Moisés Horta Valenzuela (MX) human and machine agency by blurring the boundaries between them and blending Neltokoni in cuícatl

human and computational Juhasz / right: © Laszlo Novak left: © Lucija Neltokoni in cuícatl (Talismans in Poetry) is a senting vernacular knowledge and forging new multichannel audio/visual poetry performance mythologies within artificial intelligence art pro- driven by a disembodied AI system consisting of duction systems. three generative deep learning models trained on By understanding the cultural nature of compu- precolumbian sonic forms, poetry and imagery. tational technology, Neltokoni in cuícatl proposes Wobbly (US), Jennifer Walshe (IE) The iterative performance presents a multisen- cultural representation as a strategy for reconsid- sory experience of the symbiosis between artifi- ering the cultural homogenization brought forth MOREOVER cial neural networks and ancestral technologies in the age of AI and algorithmic mediated culture. An infomercial for products with limitless potential, delivered in six luscious, of spirit; acting as a form of resistance towards yet incomplete, episodes. colonial practices of language erasure by repre- Lead Artist: Moisés Horta Valenzuela AKA

Tune in for the 2020 MOREOVER infomercial reveal, unboxing and presentation. What is MOREOVER? A route to your best self, via your raw and worst selves. How is MOREOVER? Because content. Who is MOREOVER? Like other high-pro- file CEOs, Vallendrome-based Wobbly aka Jon Leidecker has enough imagination to hope to live forever, according to three different people who heard him say so. From the London HQ, Jennifer Jennifer Walshe, Wobbly Walshe, Jennifer Walshe, a personhood repeatedly filmed “board- ing a yacht” performs the MOREOVER mantra.

“You can think it, you can feel it, but you can’t MOREOVER, Machine , © Jeff Joly Gnawa in cuícatl, © Moises Horta Valenzuela Neltokoni say it. Do. Not. Say. It.”

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Yishu Jiang (AT), Ali Nikrang (AT), Daniela Mülleder (AT) Ali Nikrang (AT) Running Off the Senses How Machines See Music

It is still a strange feeling when AI-generated A deep neural network usually contains a very music continues, showing us every moment in the music triggers emotional reactions in us. Despite large number of parameters — millions or even piece in which neurons are activated and react to the inability of AI systems to feel human emo- billions — that are learned during the training; it. Finally, a so-called “similarity matrix” shows tions, they are able to create music that sounds a complexity that’s needed for the nonlinear the similarity between the activated neurons at natural and emotional. This is achieved by learn- internal representations of the input data. This any point in time with any other. In other words, it ing relevant statistical patterns that AI systems installation visualizes some aspects of the inner shows reveals which parts in the piece are similar can find in large collections of music samples. life of a deep neural network for music compo- as they produce the activation of similar neurons. This performance with Yishu Jiang and Ali Nikrang sition called Ricercar that is being developed at The result is a novel way of visualizing music, (violoncello and piano, respectively) focuses Ars Electronica Futurelab. which shows the higher-level structures of a on AI-composed music, with human-composed Ricercar is trained with 25000 pieces of music piece of music (e.g. its repetitive structures). music as counterpoint. The performance is and can compose music. In this case, however, It also shows us, once again, that music is not © Nancy Horowitz © vog.photo meant to emphasize the strange feeling of being the network will not compose, but be fed with only pleasant to hear, but also contains beautiful emotionally manipulated by AI. The composi- an existing piece of music as input. We observe hidden visual structures that can span the entire tions in this performance also include results the reaction of the neurons in each layer as the piece. from a newly developed AI composition system called Ricercar: An AI-based Music Companion, developed by Ali Nikrang at the Ars Electronica Futurelab. Ali Nikrang (AT), Martin Honzik (AT) Somnium To be moved deeply by the atmosphere of a place, (AI) observes the inspiring surroundings at the or by music, is a feeling every human being can tower which invite the viewers to contemplate and relate to. As an experience, it is not only a testa- enjoy the situation. Meanwhile the AI “interprets” ment to our perception of the world, but the man- the Anthem of Europe by Beethoven, The Inter- ifold emotions that come along with it, often con- nationale, the National Anthem of the Republic of Johann Sebastian Bach, Goldberg Variations No. 11. Visualization tradictory and opaque: every beautiful moment Austria and the Anthem of Upper Austria, turning shows the activation maps of two selected layers in the Ricercar implicates the melancholy of its transience. the moment into a bittersweet reflection on the composition system. © Ali Nikrang Somnium is an installation playing with the ambi- current situation of democracy and the condition ence of the stunning location at the JKU TNF- of our planet in general. What are the hymns of Ali Nikrang (AT) tower and hymns, a musical form specifically today? Are there any? What does farsightedness written for the purpose of adoration or prayer. mean in our complex world? Somnium is also a Together with the visitor an artificial intelligence visionary novel by Johannes Kepler, considered Ricercar: An AI-Based Music Companion by many as one of the first works of science fic- Ricercar is an interactive AI-based music compo- Ricercar: An AI-Based Musical Companion follows tion. What are our outlooks, our visions today? sition system being developed by Ali Nikrang at a similar idea. It aims to create an intuitive inter- The installation sparks an interplay between the the Ars Electronica Futurelab. face between human artists and an AI-based “perception” and “interpretation” of the AI and Ricercar refers to a musical form of the Renaissance composition system, in which human users and the associations of the individual visitor, leav- and Baroque which means “search” in Italian. the AI system can collaboratively discover the ing open questions about today’s relationship Composers used it for pieces in which they exper- potential of a musical idea, given to the system between humanity and machines. The AI-based imented with a theme or musical idea to discover by the users or initialized by the system itself. music composition system used here is called qualities such as permutation, possibilities in The interaction takes advantage of the benefits “Ricercar: An AI-based Music Companion” and is variation and harmonic potential. of artificial creativity, as well as the human ability being developed by Ali Nikrang at Ars Electronica to personalise and control the system’s output. Futurelab.

250 251 AIxMUSIC/ The Big Concert Night 2020

THE BIG CONCERT

NIGHT 2020 Interference — Christina Kubisch and Katharina to create their individual musical response, inter- Ernst pretation or improvisation. This evolved into a The second part of the Big Concert Night brings major network project within the framework of Christina Kubisch and Katharina Ernst on stage the Ars Electronica Festival 2020, resulting in with their Project Interference. A piece that com- nine musicians performing their contributions live. Fidelio Freedom Project bines instrumental sounds with the sounds of In cooperation with Bruckner Orchestra Linz electromagnetic fields and digital elements to create a virtuoso interplay of human and machine. A project by Ars Electronica and Bruckner Orchestra Linz Orchestra: Bruckner Orchestra Linz The Big Concert Night in collaboration with ­format of the Big Concert Night in its interweaving Principal conductor: Markus Poschner The Big AI-Jam — AI meets musical diversity Texts: Karl Markovics, Maria Hofstätter Bruckner Orchestra Linz has been an integral of musical styles and epochs and the interaction Finally, Ali Nikrang — composer and AI researcher Live music: Rupert Huber, Roberto Paci Daló, Nguyên Lê, and unique part of the Ars Electronica Festival of artists from different genres. The necessity of at the Ars Electronica Futurelab — will present his Harald Scharf, Hugo Friedrich Siegmeth, Bastian Jütte, for over a decade. Each year, it provides unique the spatial distances between the visitors as well Christina Kubisch, Katharina Ernst, AGF AIxMusic project. He has developed an advanced opportunities to explore and cross boundaries as performers, and the fact that the festival is Big AI Jam Live: Ali Nkrang, Yishu Jiang, Daniela Mülleder, AI composition software and invited musicians Josef Klammer, Rupert Huber, Roberto Paci Daló, —an encounter between musical worlds. Like conceived as continuous hybrid between on-site from the international network of ­festival ­partners Ars Electronica Futurelab many other program formats of this year‘s fes- and online, led to a new design principle for stag- tival, the security measures imposed by COVID- ing the project. The extensive grounds of the JKU 19 strongly affected its design and presentation Campus transform into a performance area for possibilities. Despite all, and after several years musicians and actors. The audience‘s attention of successful collaboration with the conductor is not focused on a central stage, but surrounded Markus Poschner, it was possible to develop a by dialogue and interplay of artistic elements. The Bruckner Orchestra Linz project that completely lives up to the unique An orchestra in tune with people, with the times, and with their challenges

The Bruckner Orchestra Linz, which can look back ­formats, seeks unexpected venues, finds surpris- on a history and tradition spanning more than 200 ing ways to convey music, and above all produces years, has over the past decades developed into artistic events whose urgency and intensity make Fidelio Freedom Project one of Central Europe’s leading orchestras. It is them both popular and critical successes. Markus At the center of the project is Beethoven‘s joined by two outstanding actors — Karl Markovics not only the symphony orchestra of the province Poschner and the BOL have crafted their own dis- Fidelio, the great opera of liberation. In refer- and Maria Hofstätter — along with the jazz forma- of Upper Austria but also serves as the theater tinctive way of playing Bruckner’s music, which ence to the current global conflict situations and tion of Bastian Jütte, Harald Scharf, Hugo Fried- orchestra for the musical productions of the Linz is expressed in a unique, Upper Austrian sound the thematic focus Autonomy—Democracy of rich Siegmeth and Nguyên Lê. Additionally, this Landestheater (provincial theater). As a musical dialect that can be heard on their recent record- this year‘s Ars Electronica, the Fidelio Freedom evening will feature the musicians Rupert Huber, ambassador for Upper Austria as well as for the ing of Bruckner’s Symphony No. 8. As of 2020, the Project embarks on a journey through cultural his- Roberto Paci Dalo and AGF. ensemble’s namesake, the Austrian-born com- Bruckner Orchester Linz for the first time has its tory. Motifs originating from antiquity are taken Chosen texts and quotes originate from Pico della poser Anton Bruckner, the BOL embarks regularly own concert series at Linz’s Brucknerhaus, and up, revolving around resistance and the struggle Mirandola, Olympe de Gouges, Rainer Maria Rilke, on international tours. Since Markus Poschner since 2012 has had a series at Vienna’s Musik­ for justice, but also addressing solidarity, mutual Johanna Dohnal, John Milton, Martin Luther King, took over as Music Director in the fall of 2017 verein. The Bruckner Orchester Linz was named support and the responsibility of the individual. Henry David Thoreau and Eckart Winkler. — immediately delivering a sensational perfor- “Orchestra of the Year” at this year’s Austrian Markus Poschner and his Bruckner Orchestra are mance at the Concert Night of the Ars Electronica Musiktheaterpreis gala. Festival — the orchestra has gone through an Text: Norbert Trawöger – Artistic Director Bruckner opening-up process that generates many new Orchestra Linz

252 253 AIxMUSIC / Concerts & Performances CONCERTS & PERFORMANCES Christina Kubisch (DE), Katharina Ernst (AT) DOUBLÉ plays Interference Tobias Euler (DE), Thies Mynther (DE), Veit Sprenger (DE) Interference is a piece about different rhythmi- no longer sets the mood. A human sense of timing Moon Machine Field Trip cal structures controlling each other. In the first is re-established, the computer becomes like a part, Christina’s recordings of electromagnetic band member, listening and adapting; and while A mechatronic exploration of song and counterpoint waves of all kinds – such as security barriers, light Christina is detecting electromagnetic fields live The composer Thies Mynther (also known from performative possibilities in different contexts. advertisements and server rooms from Bangkok on stage with her especially developed technol- bands such as Phantom Ghost and as a collabo- After exhibitions and shows in Münster and Ham- to NYC, from Berlin to Shanghai – lord over the ogy that translates electromagnetic waves into rator of Chicks on Speed), the theater maker Veit burg, the Ars Electronica is the third station of drums; while the old dependency on metronomic audio waves, Katharina bends the possibilities by Sprenger (Showcase Beat le Mot) and the visual the device’s journey. Based on Moondog’s works forms is questioned in the second part, which following — and being followed by — BeatSeeker. artist Tobias Euler (founder of the legendary and his instrument inventions such as the Trimba develops into a revolutionary role reversal for Jonny Knüppel in Berlin) have developed an inter- or the Dragon’s Teeth, the artists complement the third and last segment, where the playback Drums: Katharina Ernst ventionist music machine, initially built in honor the composer’s canon with their own melodies, track no longer leads the drummer, the machine Electromagnetic sounds: Christina Kubisch of the outstanding musician Moondog. The Moon poems and musical experiments. Machine is a mobile music island, a bricolage with pneumatic instruments and mechatronic A Production of Thies Mynther and Veit Sprenger in sound machines, sun umbrella, signal horns Coproduction with Theater at Pumpenhaus Münster, and acoustic collision warning devices. Built in Flurstücke Festival and the Kunsthalle Münster, supported 2019, the three artists continue to explore its by Fonds Darstellende Künste. © ORF musikprotokoll, Martin Gross © ORF musikprotokoll, Acts of Substitution without Bodily Contact, Contact, without Bodily Substitution Acts of Klien © Volkmar Moon Machine Field Trip Moon Machine Field Trip Sessions Improv Corona

254 255 AIxMUSIC / Pianographique

The Telharmonic Orchestra (AT) feat. Richard Garet (US) & Daniel Neumann (US/DE) Maki Namekawa (JP/AT), Dennis Russell Davies (US), Cori OʼLan (AT) Acts of Substitution without Bodily Contact Pianographique

Making Music in the Age of Quarantine Pianographique is an ongoing artistic ­collaboration The trio is an often-seen guest at the Ars Electronica of the two pianists Maki Namekawa and ­Dennis Festivals and has performed at numerous inter- In times during which group meetings, let alone and–alone, in the glow of our screens–we react to Russell Davies with the digital-media artist national locations such as New York, Tokyo, Abu rehearsals, are impossible; making music together them. Together, we seek out replacement therapy Cori O‘Lan. Dhabi, Brussels and many more. is possible only in media space. But the techni- for the inebriating act of making music together. In their work, which they started in 2013, the This year they are joined by Gregor Woschitz who cal medium interfacing between human bodies We hope for the best. artists aim to create an intimate connection and has developed the real-time visualization for the resists as much as it enables. It allows communal balance between the three decisive levels of 6 Macbeth Pieces by Kurt Schwertsik which have music-making without meeting, acts of substitu- The composers/musicians of the Telharmonic Orchestra are: Paquito Chiti, Martina Claussen, Isabella Forciniti, experience in their live concerts: the piano-mu- been chosen for this year’s program to celebrate tion without bodily contact or risk of infection. Volkmar Klien, Tobias Leibetseder, Michael Mikolasek, sic itself, the physical presence and performance the 85th birthday of this eminent Austrian Com- And it is through these acts of substitution that Kamran Moharramzadeh, Katharina Roth, Astrid Schwarz, of the musicians and the visual accompaniment poser. the media itself shifts into focus. The membrane Peter Trabitzsch which is therefore not a pre-produced video or Pianographique will be presented at two loca- interfacing is also impenetrable. The ear is quick, feat. Richard Garet & Daniel Neumann The Telharmonic Orchestra is supported by: animation but generated in real-time based on tions of this year’s festival: The Ars Electronica and the net quite often slower than hoped for. Gits.at / Institute for Composition, Conducting and comprehensive audio-analysis of the music as it Center’s Deep Space 8K with a solo recital by More importantly: can souls really touch while Computer Music at Anton Bruckner University Linz / is being played. Maki Namekawa and on the festival’s main per- their bodies don’t? Sitting at our interfaces, we Anton Bruckner University In a way, the special graphics software becomes formance stage in the newly built Kepler Hall on listen to the slightly delayed sonic acts of others a brush, which is placed in the hands of the musi- the JKU campus with Dennis Russell Davies and cians and is guided by their playing. Maki Namekawa performing together.

Corona Improv Sessions The program for Pianographique The program for Pianographique in the Deep Space 8K: in the Kepler Hall: The Corona Improv Sessions is a series of inter- screen practices, the participating artists explore cultural, performative, audio-visual telematic the dynamics of co-located performativity. They Philip Glass: John Cage: jam sessions that began on March 20, 2020, and embrace rather than resist latency, to produce _ Pasacaglia for piano solo _ Suite for Toy Piano (Toy-Piano: Maki continued every Sunday during the global lock- a novel visual Musiking in which virtuosity is Namekawa, Visuals: Cori O‘Lan) Joep Beving: down, between a group of co-located students eschewed. Nonsynchronous performance thus _ The Seasons (Piano: Dennis Russell Davies, _ Ab Ovo and artists. The sessions became a vehicle for creates emergent, aleatory musical and visual Visuals: Cori O‘Lan) _ Midwayer developing enduring artistic and personal con- forms. _ Hanging D Philip Glass: nections, and creating new spaces at a moment _ Elergy for the Present (Piano: Dennis Russell of cultural and political retrenchment. Elliot Goldentha: Davies, Visuals: Cori O‘Lan) The group that emerged from these jams will per- Tina Frank, Alexandra Murray-Leslie, Thies Mynther, Atau _ Gigue Diabolique Tanaka, Melissa E. Logan, Panja Göbel, Cat Hope, Øyvind form in person — both in Linz and telematically. Ludwig van Beethoven: Brandtsegg, Tina Havelock Stevens, Mari Bastashevski, All pieces will be performed by Maki Namekawa The performances at Ars Electronica Festival will Mikalsen & Marhaug, Anat Ben David, Einar Grinde, Nina _ 3 Marches for piano four-hands op.45 and accompanied with real-time visualizations offer telematic improv sessions by a core group Haarsaker, Catharine Cary, Krõõt Juurak, Diana Lindbjerg, (Piano: Maki Namekawa and Dennis Russell of performers together with pioneers of telematic Unnur Andrea Einarsdottir, Dinu Bodiciu, Håvard Gismerøy by Cori O‘Lan. Davies, Visuals: Cori O‘Lan) performance and luminary guests. Ekker, Sina Marie Haave, Junda Auguste Andriuskeviciute, Evelina Bartuseviciute, Salma Mastour, Dunia Isabel Using software developed specifically for the Kurt Schwertsik: Vazquez Juarez, Nadia Buer Haugen, Agnes Dalgård, _ 6 Macbeth Pieces for Piano four-hands Ars performances to facilitate real-time collab- Dong Zhou, Ada Hoel orations in digital performance and expanded www.theatreofmaking.net/coronaimprovsessions (Piano: Maki Namekawa and Dennis Russell Davies, Visuals: Gregor Woschitz)

256 257 EUROPEAN PLATFORM FOR DIGITAL HUMANISM Aalto University

Finnish Museums m-cult Tom Tits Association Experiment

Visualization Center C

RIXC

The Culture Yard Edinburgh Futures Institute

Laznia Centre Vrije for Contemporary Art Universiteit Chester Beatty Library Amsterdam Universum® Bremen FACT Poznan Science Gallery at Trinity College Dublin Leiden University of Film University University Amsterdam Institut Incontri - Babelsberg Supercomputing Birmingham Waag Hochschule für Musik, Konrad Wolf & Networking Todays Theater und Medien Center City University IMPAKT Spin Digital Video University of Arts Art Universiteit Leiden Technologies Science Gallery at London: Central Kings College London Ecsite Werkleitz Centre New Space Projects Saint Martins for Media Art Foundation Heretic Technopolis Technical WRO Art Center University Gluon University Dresden of the Creative BOZAR Michael Culture Arts European Association SCIENCE IN EMAP Schoolnet Frankfurter European ARTificial Intelligence Lab Buchmesse European TRACES IRCAM Molecular STUDIOTOPIA Dedale Biology izneo Laboratory IMZ International Music + STARTS Media Centre Ars Electronica Zentrum für Linz Prize Ecosystem Regional Centers Soziale Innovation Cluj Antre Raumschiff Cultural le lieu unique Peaux Onl‘Fait Immersify Kersnikova Institute/ Centre Kapelica Gallery New Art Center Belgrade Hexagone Museo scienza Radiona spaceEU Leonardo da Vinci Kontejner Makerspace Institute of La Musicology SASA Casemate MEET STePS SySTEM 2020 Cap Sciences Center for Digital Culture Promotion of Center Centrica Science Beyond Quantum Music Cité de l'espace French Tech Grande Provence

Digital Cross Over LABoral Centro Marché du Film – Muzeiko de Arte y Creación Festival de Creative School Cannes Foundation Fundação da Zaragoza City STEAM Inc Juventude of Knowledge Foundation INOVA Município de Figueira de Castelo Rodrigo OSHub NOESIS Ellinogermaniki Agogi LATRA Onassis Ciência Stegi SciCo

Viva com MADE Group

Impact Hub Parque de las Siracusa Ciencias

SOU Festival Muntref Centro de Arte y Ciencia < Buenos Aires Bloomfield Science Museum

Jerusalem Design: ortnerschinko. EUROPEAN PLATFORM FOR DIGITAL HUMANISM EUROPEAN PLATFORM FOR DIGITAL HUMANISM A Platform for AI Ethics, Fairness and Trust

While it is true that digital technologies have to create a digital society that fosters competition The latest developments in artificial intelligence should not do, as well as how — and by whom AI merely accelerated processes already unfold- and generates value while also reflecting Euro- are truly are astonishing, and they will advance systems are developed, deployed, used and mon- ing across the industrialized world, they have pean values? A good argument can be made to exponentially with the increasing scientific and itored. From the perspective of 13 major cultural changed our world and our lives radically over the effect that the success of many digital prod- economic power that is invested by research operators in Europe, and led by Ars Electronica, the last four decades. From the outset, Ars Elec- ucts and services will shortly no longer depend and industry. However, artificial Intelligence the European ARTificial Intelligence Lab centers tronica has viewed this as a societal rather than a on whether the processor is a little faster or the and machine learning are difficult to understand visions, expectations and fears we associate with technological development, and Ars Electronica’s screen more colorful, but rather on the confidence and trust, not only by general society, nor least a future, all-encompassing artificial intelligence. European Platform for Digital Humanism has the users have in services and on the credibility because of their implicit biases. In February While industries are pumping massive amounts of focused not on technologies but on their impacts. of the providers. To the extent that digital data 2019, McKinsey published that “if Europe on money into cutting-edge technologies to develop Taking up these developments, the European will actually be the “new oil,” the raw material of average develops and diffuses AI according to intelligent systems, we are connecting artists Platform for Digital Humanism wants to show the future; the “refinement” of this raw material its current assets and digital position relative with research institutions and scientists to fill a new pathways to a digital society and invites will soon play a greater role than the material to the world, it could add some €2.7 trillion, or gap in dealing with the social components and audiences to imagine a new future: it is time for itself. Besides profitability, this also opens up 20 percent, to its combined economic output by political questions arising from these enormous us to resign our roles as mere consumers and opportunities for social appropriateness in deal- 2030 1”. But how can we ensure that our Euro- technological advances. data-generating machines. We must take respon- ing with our data seriously. The cooperation of pean education systems, our legal and ethical An extensive program of activities addressing dif- sibility for our futures. art and technology is much pined-for, and a large frameworks — our society, in general — is ready ferent target groups at various experience levels Can, or should there be, something like a Euro- number of EU projects and cooperation initiatives to adopt it by 2030? Innovation in artificial intel- was carried out and will be continued until the pean way into the digital society, between the have set themselves the goal of strengthening ligence needs a drastically stronger commitment end of the project. In total, the project realizes “data capitalism” of IT monopolists and the “data the role of art, creativity and education in the to increased understanding, trust, legal frame- 26 residencies, 64 educational programs for totalitarianism” of authoritarian regimes? If so, development of the ideas, concepts and scopes work and ethics to allow for its early adoption and audiences, 9 theatre/interactive performances, would a European “data humanism” also be com- of action necessary for digital humanism. As a the exploitation of its full potential. 115 training and capacity building activities for petitive? Could applications of digital technology platform for art, technology and society, Ars Elec- In light of this urge, and next to scientific, tech- artists and creative professionals, as well as 22 aimed towards human needs and established tronica currently coordinates and participates in nological and economic aspects, the European exhibitions. By addressing AI and its societal social conventions, which respect the autonomy several such cooperation projects funded by the ARTificial Intelligence Lab is strongly focused on implications through conferences and exhibitions of users over their data, be precisely this compet- European Union in the fields of culture, research the legal, cultural, educational and ethical dimen- targeting art and general audiences, while foster- itive advantage? Or, in other words: Is it possible and education. sions of artificial intelligence. This allows a holis- ing knowledge of AI with educational and training tic model, with considerations on human values activities, the AI LAB contributes to a critical and and elementary questions on what AI should or reflective society. Culture (Creative Europe): European ARTificial Intelligence Lab Culture (Creative Europe): EMAP/EMARE Culture (Creative Europe): Studiotopia Partners: Ars Electronica (AT), Center for Promotion of Science (RS), Zaragoza City of Knowledge Culture (Creative Europe): Beyond Quantum Music Foundation (ES), Laboral Centro de Arte y Creación Industrial (ES), Kersnikova Institute / Kapelica Culture (Creative Europe): Digital Cross Over Gallery (SI), Science Gallery Dublin (IE), Onassis Stegi (EL), The Culture Yard (DK), GLUON (BE), Research (European Commission): AIxMusic Festival Hexagone Scène Nationale Arts Sciences (FR), SOU Festival (GE), le lieu unique (FR), Waag (NL) Research (Horizon 2020): STARTS Prize Participating Gardens: Garden Amsterdam, Garden Athens, Garden Belgrade, Garden Dublin, Research (Horizon 2020): STARTS Ecosystem Garden Gijón, Garden Grenoble, Garden Helsingør, Garden Slovenia, Garden Nantes Research (Horizon 2020): Regional STARTS Centers Funding Scheme: Creative Europe Research (Horizon 2020): Immersify Research (Horizon 2020): System2020 Duration: 01.11.2018 — 31.10.2021 Research (Horizon 2020): OSHub Website: https://ars.electronica.art/ailab/ Research (Horizon 2020): spaceEU The European ARTificial Intelligence Lab is co-funded by Creative Europe Programme Education (Erasmus+): STEAM Inc. of the European Union. Education (Erasmus+): Creative School

1 https://www.mckinsey.com/~/media/McKinsey/Featured%20Insights/Artificial%20Intelligence/Tackling%20Europes%20gap%20 in%20digital%20and%20AI/MGI-Tackling-Europes-gap-in-digital-and-AI-Feb-2019-vF.ashx 262 263 EUROPEAN PLATFORM FOR DIGITAL HUMANISM

Residencies provide an ideal setting for direct Earth dream? Can our dreams mesh?

encounters and collaborations between artists In The Wandering Mind, the pervasive sensing, and AI researchers. So far, 12 residencies were fiber and neural networks covering our planet

held as part of the AI Lab by different cultural meet us in our sleep, drawing source material partners in collaboration with scientific counter- from vast online stores of field recordings and parts. sensor data. For this year’s festival, we ask our The winner of the first Lighthouse Residency at AI to dream in the sounds of water and currents, Ars Electronica is slow immediate (CN/US), in retelling the myth of Tiamat, the sea mother collaboration with Muntref in Buenos Aires. They whose life takes a tragic turn when her rebellious will present their residency outcome, The Wan- children seek power. The story mirrors our mod- Adam Harvey (US), MegaPixels (US), ©Jules LaPlace Ars Electronica Emotional SEER Simulative (JP), Todo Takayuki Robot Expression © Ars Electronica dering Mind, at the festival this year. Does the ern relationship with Earth’s oceans.

A Platform for Experimentation

Besides providing a platform for ethics, fairness lenging example. ICT have a primordial space as and trust in AI, Ars Electronica wants to contribute a medium to connect and network decentralized to steady research and development progress and partners around the world. The AIxMusic Festival interdisciplinary experimentation with this tech- demonstrates the usefulness of digital technol- nology. Global events like the current pandemic ogy in allowing musicians and professionals to demonstrate how AI (machine learning mainly) perform in the current, difficult situation. is already leveraged to increase understanding A networked hybrid edition of the Festival will also and handling of complex global phenomena and be presented this year, and includes on-site per- helps in advancing massive challenges, such as formances/events in Linz and others world-wide the delivery of a vaccine against the coronavi- that will be streamed or showcased purely online. rus. AI, however, also requires increased active This platform invites different professionals, art- experimentation, testing and working across dis- ists, musicians, composers and researchers to ciplines and sectors so it can be exploited to its discuss the interaction between humans and full potential in both art and industry. machines through concerts and performances, This year, as part of the STARTS initiative, conferences, workshops and online exhibitions. satellite on rooftop, © slow immediate © slow on rooftop, satellite Ars Electronica is organizing the second AIxMusic Festival in collaboration with the Euro- pean Commission. Musicians are especially criti- Participating Gardens: AIxMusic Garden Barcelona, The winners of a collaborative residency with the see, even AI deep fakes that make us doubt our cal but open-minded and demanding users of AI AIxMusic Garden Silicon Valley, AIxMusic Garden Edinburgh Futures Institute are Anna Ridler (UK) own ears and eyes. It becomes harder and harder in creative contexts. In its first edition, the AixMusic Stockholm, AIxMusic Garden Berkeley, AIxMusic Garden Brussels, AIxMusic Garden Paris, AIxMusic and Caroline Sinders (US), with their project AI to sort out where the human influence is in the focused on improvisation between artists and AI, Garden Plymouth Isn’t Artificial but Human. Their work addresses AI process. We are very interested in this issue to activate human encounters and emotions. The Funding Scheme: DG Connect, European Commission how our world is becoming entangled, with so of human influence and how it can be understood 2020 Festival explores a networked approach to Website: ars.electronica.art/keplersgardens/aixmusic much of our consensus reality being created by through a creative practice. Once people under- music enabled by AI. This year’s edition of the software we hardly understand: financial markets stand that they might have agency in a process, it AIxMusic Festival highlights the full potential of The AIxMusic Festival, a S+T+ARTS flagship event, is organised by Ars Electronica and the European where bots endlessly trade with other bots, social allows them to engage with the subject in a way AI to facilitate networked remote collaboration Commission. media algorithms that control what narratives we that they might not have done before. with music as a particularly intriguing and chal-

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Aside from music, the production also con- performances. The new project, Beyond Quantum

tained a visual interactive-educational segment Music, is a direct continuation and expansion of that explained the basic premises of the quan- the original Quantum Music project, with the pur- tum world to audiences. All performances were pose of broadening and developing production, accompanied by lectures from some of the most educational and artistic aspects of the pilot proj- renowned quantum physicists today. The Quan- ect. The primary goal of the new consortium is tum Music show was performed to sold-out audi- audience development, predominantly in the four ences and sparked great interest wherever it was partner countries, but also in the broader Euro- performed. This enthusiasm encouraged us to pean context. Its secondary goal is to establish think of further expanding the project by inviting a network of organizations and individuals that international artists to write new Quantum Music would continue to perform and promote connec- pieces and design new visuals to include in the tions between quantum physics and art. Orogenesis Spacial Piano Improvisation Inspired by the the by Inspired Spacial Piano Improvisation Orogenesis © vog.photo Mountains Rupert of Huber (AT), Formation

Partners: Institute of Musicology SASA (RS), New Art Center Belgrade (RS), Ars Electronica (AT), A Platform for Open Access TodaysArt (NL), Institut Incontri, Hochschule fur Musik, Theater und Medien (DE) Funding Scheme: Creative Europe Duration: 01.09.2019 — 01.08.2022 AI is only one of many emerging technologies The original pilot project Quantum Music, Website: http://quantummusic.org/ in Ars Electronica’s catalogue. Starting in 2019, co-funded by Creative Europe, began in August Ars Electronica has also been inviting artists and 2015. This highly original and innovative project Beyond Quantum Music is co-funded by Creative Europe Programme of the European Union. musicians to work with quantum physics in pilot- managed to push boundaries and bring together ing ways. A central element to this is to facili- the distant worlds of music and quantum physics. tate artists with free and open access to ongoing The main outcome of the pilot project was the research. Beyond Quantum Music is a dedicated interactive multimedia Quantum Music show, fea- Internet portal where the complete library of turing new, especially designed hybrid keyboard quantum samples, as well as all previous artis- instruments, a new library of quantum sounds tic and scientific results of the Quantum Music developed from the experiments, and quantum project, would be offered to users worldwide and physics formulas and compositions written espe- with open access. cially for this show. Yamaha AI Project, © vog.photo AI Project, Yamaha — Dear Glenn, Sonica Quantum Music Kino Siska, © Ales Rosa A-MINT Alex Braga (IT), © Jürgen Grünwald (IT), Braga Alex © Jürgen A-MINT

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A Platform for Collaborative Practices

Many of the social, ecological and economic enable European artists to collaborate on proj- challenges of our time will only be mastered ects, and consequently to create closer bonds, through creative and cooperative approaches. with European media organizations. EMAP offers This is illustrated by the enormous interest in an opportunity to work within these bounds as targeted programs that open doors from artists defined by the individual artists, enabling them to scientists and researchers, and vice versa. We to develop their projects in a new context, and are looking not only for mentors, but also for rep- thereby give something in return to their host resentatives from science and industry who are organization. This process of encouraging art- seeking cooperation out of self-interest and the ists’ projects and building stronger links between urge for societal renewal. European funding pro- media organizations is enhanced by the rapid grams such as Horizon 2020 and Creative Europe development of network technologies and also have long since recognized the importance of this reflects the moves towards integration taking interface, and are thus enabling groundbreak- place throughout Europe. ing projects such as STARTS or EMAP. They offer The European Media Art Platform is a consor- artists structured access to interdisciplinary tium of eleven leading European media art orga- exchange and develop the necessary framework nizations specialized in digital and media art, bio conditions, modalities and IP agreements to facil- art and robotic art. The residencies are based itate capacity and knowledge building in the field on European intercultural knowledge exchange

of collaborative practices for all involved parties: between the selected artists, the host organi- (DE/IT), Barotti © vog.photo Clams Marco artists, scientists and facilitators. zations and various experts who join to consult, EMAP (European Media Arts Platform), for support, or train the artists. The last residency example, annually awards residency grants to call within EMAP, from 2019, covered two res- outstanding European media artists and sup- idency periods (2020 and 2021) with a total of ports research, production, presentation and 22 residency possibilities. Kasia Molga (UK/PL), distribution of media art in Europe and beyond. who is the residency winner at Ars Electronica in EMAP’s program history goes back to 1995 and 2020, will present her project “How to Make an is the largest international platform of artistic Ocean” at the Ars Electronica Festival 2020 and is exchange and residency projects for media artists also part of the EMAP group exhibition, together in Europe. The basic purpose of the program is to with four other EMAP-funded artists.

Partners: Ars Electronica (AT), Antre Peaux (FR), FACT (Foundation for Art and Creative Technology, UK), IMPAKT (NL), Kontejner (HR), LABoral Centro de Arte y Creación Industrial (ES), m-cult (FI), Onassis Stegi (EL), RIXC (LV), WRO Art Center (PL), Werkleitz Centre for Media Art (DE) Participating Gardens: Garden Athens, Garden Bourges, Garden Gijón, Garden Liverpool, Garden Utrecht, Garden Wrocław, Garden Zagreb/Dubrovnik, Garden Riga/Karlsruhe Funding Scheme: Creative Europe Duration: 01.01.2017 — 31.12.2021 TransPlant May the Chlorophyll be within you Quimera Rosa (ES/AR/FR), © vog.photo (ES/AR/FR), Rosa Quimera be within you the Chlorophyll May TransPlant Website: http://www.emare.eu/

EMAP/EMARE is co-funded by the Creative Europe Programme of the European Union.

268 269 EUROPEAN PLATFORM FOR DIGITAL HUMANISM A Platform for Next Generation Media and Personalized Content

Ars Electronica’s contribution to developments in across Europe through the converging views of VR and other forms of immersive media have the Immersify developed key tools to create the next the fields of collaborative practices is also mani- art and science. This initiative aims to increase potential to disrupting the entire media industry generation of immersive media applications. fested through an inverse residency model and an collaborations between cultural and research with new user experiences that are more immer- First, by developing advanced video compression offer for scientists to be hosted in artist studios. institutions, academia, innovation centers, sive and interactive compared to current video, technology tailored to the needs of the VR video, It started in 2017 as the Gluon Scientist-in-Resi- creatives and European citizens. cinema and TV. In order to reach a mature state Immersify delivers and displays the huge files dence program between Ars Electronica, BOZAR In the course of almost two years, STUDIOTOPIA beyond the current niche markets, the quality of that appear as a result of increased resolution, and the Serpentine Gallery, designed for a new will offer 13 artists and 13 scientists a unique experience of VR media must improve in several frame rate and better image formats. Second, generation of scientists interested in collaborat- opportunity to collaborate for a duration of sev- ways. Since October 2017, Ars Electronica has Immersify facilitates the spread of immersive ing with artists. Drawing from posthumanist theo- enteen months. Our residency program aims to worked on exactly this through the research proj- content, as well as its distribution and exhibition ries, this initiative seeks to propose new relations encourage scientists to exchange ideas, knowl- ect Immersify. In order to create media that is by supporting multiple devices and environments between nature and culture at a time of alarming edge and methodologies with international visual as immersive as possible, the expertise of the such as PC- and mobile-based head mounted phenomena such as climate change, migration artists while visiting their studios. partners is diverse and includes video codecs, displays, multi-display systems, and dome, and fake news. In 2019, Gluon, BOZAR and Ars Results, developed concepts, research material infrastructure, film distribution and high resolu- immersive cinemas and deep spaces. Last but Electronica — together with five other European or artworks generated during STUDIOTOPIA res- tion displays. The project, situated right at the not least, Immersify allows content creators to organizations — were successful in bringing the idencies will be exhibited in partnering venues intersection of artistic vision, scientific research produce highly personalized content with seam- project STUDIOTOPIA to a new, Creative Europe across Europe. This residency aims to create and technological development, was completed less interactivity by developing the required tools co-funded stage with continental residencies and opportunities for artists and scientists to share in June 2020. Funding is provided by the EU’s to combine high quality video, 2D/3D CGI, and activity programs. STUDIOTOPIA is a creative their expertise with wide international audiences, Horizon 2020 program. interactive elements. journey addressing sustainable development curators, art specialists and researchers.

Partners: Poznan Supercomputing & Networking Center (PL), Ars Electronica (AT), Spin Digital Video Technologies (DE), Marche du Film — Festival de Cannes (FR), Visualization Center C (SE) Partners: BOZAR — Centre for Fine Arts (BE), GLUON (BE), Cluj Cultural Centre (RO), Funding Scheme: Horizon 2020 Laznia Centre for Contemporary Art (PL), Ars Electronica (AT), Onassis Stegi (EL), Duration: 01.10.2017 — 31.06.2020 Vrije Universiteit Amsterdam (NL), LABoral Centro de Arte y Creacion (ES) Website: https://immersify.eu/ Participating Gardens: Garden Athens, Garden Amsterdam, Garden Brussels, Garden Cluj, Garden Gdańsk, Garden Gijón Immersify has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 762079.

Funding Scheme: Creative Europe Center and Networking Supercomputing Poznan — Duration: 01.01.2017 — 31.12.2021

Website: https://www.studiotopia.eu/ PSNC

Studiotopia is co-funded by the Creative Europe Programme of the European Union.

Norrköping Visualization Center, @ NVAB Visualization Center, Norrköping Immersify (TheInside Futurelab translucent Bauernhansl Cathedral), © Robert St. Stephen’s

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A Platform for Human-Centered Innovation

Whether it’s the development of a network interconnection and interdependence on a global Partners: Ars Electronica (AT), Waag (NL), BOZAR (BE) focused on serious artistic and creative research scale. As the business world rapidly changes and Participating Gardens: Garden Brussels, Garden Amsterdam into AI technologies, the implementation of grows more complex, creativity and innovation Funding Scheme: Horizon 2020 cross-institutional frameworks for artist mobility, have become key resources for societal and Duration: 01.01.2016 — 31.12.2020 2 or the forays into experimentation with cutting economic development. Not only has this inter- Website: www.starts-prize.aec.at edge technologies and music: the central ques- connectedness brought us new forms of media tion posed within Ars Electronica’s programs is closely linked to technological trends, it has also This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 732019. always focused on the human being itself and significantly impacted the role of its users. Our its relationship to the technologies which impact role has changed from being mostly consumers every aspect of our lives and environment. to becoming active producers, actors, prescribers This understanding of a societal responsibility and influencers. to strongly consider how, where and why new The STARTS Prize emphasizes the role of citi- technologies come into play aligns very strongly zens in not only understanding but also actively with the core values and ideas of the European partaking in innovation, by supporting artists, Commission’s STARTS initiative. Born out of the researchers and designers who develop new ways pioneering work of the ICT Art & Connect pro- to tell and experience stories that raise aware- gram, which successfully demonstrated the ness about societal challenges in connection with potential of connecting artists, researchers and ICT, and do so more and more often in collabo- industry partners as a catalyst for innovation, and ration with high-level industry and technology laid the groundwork for a Europe-wide network, partners. The prize aims to enable a targeted STARTS is a platform aiming to foster alliances of stimulation of such multifaceted interdisciplinary technology and artistic practice that effectively collaborations, and to gain deeper knowledge of implement European policymaking to nurture challenges and strategies developed within these innovation and that also benefit the art world. project teams. It also targets projects whose core It supports collaborations between artists, sci- ideas open up powerful narratives about the chal- entists, engineers and researchers to develop lenges brought forth by ICT, have the potential more creative, inclusive, and sustainable tech- to foster critical thinking, and can be applied in nologies, and focuses on people and projects that policymaking to raise awareness about the urgent contribute to mastering the social, ecological and need to develop strategies for sustainable and Schmaling © Andrea Ling (CA), Design Andrea by Decay Decay, Design by — Nature — Ecologie EDEN — Ethique Durable Olga Kisseleva (RU) economic challenges faced by the European con- inclusive innovation. tinent. Each year, the STARTS Prize Jury selects and Ars Electronica has been an active partner of awards two outstanding projects in the categories Building and nurturing a successful community munities of value, networks and tools created the initiative since 2015, hosting and organizing of “Artistic Exploration” and “Innovative Collabo- or platform requires the development of a strong, over the past five years all across the STARTS the annual STARTS Prize as leading partner with ration” with a prize money of €20.000 each, that sustainable and long-term strategy. Since its start initiative, and to use the knowledge, know-how Waag and BOZAR, contributing to the develop- have what it takes to make a significant impact on in early 2019, STARTS Ecosystem serves as a and experience generated in these successful ment of a sustainable and long-term strategy for economic and social innovation. In addition, 10 backbone to the S+T+ARTS (Science, Technol- platforms to develop and animate a dynamic eco- the STARTS initiative as partner within STARTS honorary mentions and 18 official nominations ogy and Arts) movement in Europe by building system of creators, artists and innovators. This Ecosystem, and most recently advancing the for the prize are singled out and presented in an on results of past and ongoing endeavors of the has the purpose of, on the one hand, engaging agenda of STARTS on a local level in the city of exhibition, international dissemination and policy STARTS initiative, such as the STARTS Residences and supporting the most recent STARTS Light- Linz as a Regional STARTS Center. events, and for publication in the Ars Electronica (VERTIGO), WEAR Sustain and the STARTS Prize. house pilots Re-FREAM and MindSpaces, which We are living with an unprecedented level of Cyberarts catalogue. STARTS Ecosystem’s goal is to build on the com- focus on the potential of urban manufacturing as

2 Sandberg, B. Art Hacking for Business Innovation: An Exploratory Case Study on Applied Artistic Strategies. J. Open Innov. Technol. Mark. Complex. 2019, 5, 20.

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a ­sustainable future model for fashion design and partners. Ars Electronica is also involved in devel- developing a network of players interested in the development of new modes of adaptive spatial oping a strategy for international opportunities in creating local centers in the spirit of STARTS design, respectively. On the other hand, there are aid of expanding the STARTS platform, identify- and public activities that strengthen collabora- broader aims to develop a solid toolkit for inter- ing new potential communities and stakeholders, tive practices between the fields of art, indus- disciplinary collaboration, to enlarge the vibrant including the Lighthouses pilots in programming try, business, and research. As the creativity and community of artists and creators to expand the proposals and giving them a platform to present transversal thinking of artists lead to innovative partner network of the STARTS initiative, and to their outputs. and unconventional ideas and practices, the support former participants of STARTS projects Early 2020 saw Ars Electronica representing the Regional STARTS Centers believe artists teaming in taking their work to the next level through an STARTS Ecosystem consortium at the School of up with technologists are capable of imagining a acceleration and mentoring scheme. In short, the Future Festival (organized by Tokyo Midtown more viable future for European societies, eco- STARTS Ecosystem strives towards the develop- in collaboration with Ars Electronica), making nomically, socially and ecologically. The STARTS Impression of the panel Co-Thinking the Renewal the Renewal the panel Co-Thinking of Impression Grünwald © Jürgen POSTCITY, Fashion, of ment of a new and sustainable Ecosystem for the use of Ars Electronica’s widespread network of pillars promote art as a way to center contem- STARTS initiative that fosters collaborations and collaborators in Japan and introducing its local porary reflections around humanist innovations. challenging during a global pandemic. Since innovation between creators, artists, research- community of artists, creators and industry part- The STARTS Centers thus embrace the mission much of the festival audience will be experienc- ers and technologists to promote competitive ners to STARTS; while a participation in the 2020 of facilitating the implementation of the STARTS ing exclusively online programs, a series of video business models, unconventional products and edition of SONAR +D will focus on the much-al- pillars in diverse European regions. journeys on the topic of Art Thinking produced solutions that have the potential to contribute tered landscape of interdisciplinary collaboration Focusing on one of its core strengths, the devel- especially for the festival will take viewers on a to an enhanced understanding of societal needs. in urban development in the wake of COVID-19. opment of educational programs, workshops deep dive into the various forms of interdisci- As part of STARTS Ecosystem, Ars Electronica During the Ars Electronica Festival, the STARTS and tools to introduce the general public to new plinary and collaborative practice among artists, focuses on providing support and mentorship for Ecosystem consortium will also be hosting an edi- technologies and their impact on our lives, Ars technologists, filmmakers and designers such the Lighthouse pilots Re-FREAM and MindSpaces, tion of their WeSTART online meetups, a series Electronica is creating a set of workshops focused as Giulia Tomasello, Karen Palmer or Charlotte drawing on long-standing experience in setting up of online networking events which have become on different aspects of the topic of artificial intel- Jarvis. Since working together in close physical open calls for artists, organizing and running res- vital in creating space for ongoing discourse in ligence. The workshops are co-developed with a proximity as well as travelling for collaborative idencies, building up strong, ongoing support for the STARTS community, as physical meetings and diverse set of local and international collabora- projects is becoming more and more difficult, a the participating creators, and setting up collab- collaborations have become difficult to realize tors who have extensive expertise in the field of number of online, interactive networking sessions orative frameworks with technology and ­scientific due to the pandemic. AI, and will be become part of Ars Electronica’s will connect the festival audience with local art- new educational unit, the Future Thinking School. ists, researchers and creators and international Co-creation also plays an important part in a set of collaborators such as Robertina Sebjancic and micro-residencies taking place in the framework Partners: INOVA + (PT), Ars Electronica (AT), GLUON (BE), UCA (UK), Gjino Sutic, who will open up a conversation IRCAM (FR), French Tech Grande Provence (FR) of Ars Electronica’s Regional STARTS Centers pro- about the new landscape of collaboration and Participating Gardens: Garden UK, AIxMusic Garden Paris, Garden Avignon gramming. German sound artist and technologist the question of how innovative digital platforms Funding Scheme: Horizon 2020 Moritz Simon Geist is implementing his TocOne can be used in creative practices. Duration: 01.04.2019 — 30.11.2021 System in the Ars Electronica Center’s Open Website: https://www.starts.eu/ Sound Studio, which will be an ongoing artistic Partners: BOZAR (BE), Ars Electronica (AT), MEET intervention and showcase, but also a workshop (IT), MADE Group (EL), Filmuniversitat Babelsberg ‘STARTS Ecosystem’ has received funding from the European Union’s Horizon Konrad Wolf (DE), GLUON (BE), French Tech Grande 2020 research and innovation programme under grant agreement No 824950. tool for the mediators at the center. In a similar Provence (FR) vein, Chinese, Berlin-based designer Youyang Participating Gardens: Garden Brussels, Song will bring her project — Cooking New Mate- Garden Milan, Garden Paros, Garden Potsdam, rials — to the Bio Lab as part of a two-week res- Garden Avignon With many of the STARTS initiative’s activities STARTS can be transformed into a solid strategy idency, where the project will be exhibited and Funding Scheme: Horizon 2020 focusing on mobility for artists, researchers and for engaging stakeholders on a local level and become part of the ongoing workshop programs. Duration: 01.06.2019 — 01.10.2020 creative producers, the creation of collaborative building strong, sustainable, regional communi- Besides these activities focused on education, Website: https://www.starts.eu/ frameworks with industry and technology part- ties. This is where the Regional STARTS Centers Ars Electronica is also planning a dense program Regional STARTS Centers is co-funded by the ners, and stimulation of creators whose work lies comes in, which intends to expand the STARTS of Regional STARTS Centers activities at the Ars European Commission’s DG CONNECT, in the at the nexus of science, art and technology, there initiative towards a number of European regions. Electronica Festival focused on ­interdisciplinary framework of the Horizon 2020 programme of the arises the question as to how the core ideas of The six partners of the consortium work at collaboration, which has become uniquely European Union under the S+T+ARTS programme.

274 275 EUROPEAN PLATFORM FOR DIGITAL HUMANISM MORITZ SIMON GEIST (DE) TOC ONE Music Robot System for Education, Recording & Sound Art.

The music robot system TOC ONE explores the given to single artists and organizations for edu- sound properties of physical objects. It can be cational and research purposes only. used to squeeze sound and rhythms out of almost In cooperation with ARS ELECTRONICA and MOUSE ON everything — from music instruments like drums MARS to experimental materials like metal sheets, This project is co-funded by the European Commission’s household items or old car parts. The robotic DG CONNECT, in the framework of the Horizon 2020 actuators are mounted on clamps allowing the programme of the European Union under the S+T+ARTS programme’s Regional STARTS Centers. user to attached them in a free manner to sur- faces, objects and instruments and are controlled Future Innovators Summit, © Tom Mesic Summit, © Tom Innovators Future Moritz with Music Robots Making Techno (DE), ©vog.photoSimon Geist by MIDI. In a 3-year long research process, robotic music pioneer Moritz Simon Geist teamed up with sound gurus Mouse On Mars to develop A Platform for Education this futuristic robotic system. It has been tested and refined in numerous stage and installation Critical Thinking and Digital Literacy surroundings, like the MOOG FESTIVAL, at the In 2020, a generation of Europeans born in the working alongside European partners to sup- MIT Boston or the ELBPHILHARMONIE. With Ver- dawn of social networking graduated into an era port the shaping of such citizens by developing sion 5.0, TOC ONE finally leaves the prototyping of social distancing and isolation. For many of an open access learning toolkit that integrates status. It will not be sold as a product but rather © Moritz Simon Geist them, their last days of school took place not in critical and creative thinking skills with digital the classroom but on their digital devices. While cultural heritage. Youyang Song (CH) the circumstances leading to this were most The Creative School project evolves from previous definitely not normal, the student experience of projects — the Creative Museum and the Making APeel inhabiting and interacting in digital space was. Museum — that explored how new and democra- Diametrically opposed understandings of offline tizing digital technologies could foster connec- Biomaterial Innovation and online have completely dissolved for this tions between our cultural organizations and The project APeel is an independently developed help restore the environment. Our material pro- generation, and ‘digital literacy’ should therefore their communities. The Creative School builds technique which aims to process biowaste into vides new insights and outlooks for modern life- no longer be distinguished from, or considered as on the innovative methods and tools developed in a soft yet robust leather-like material. The con- styles that want to enjoy the products they use supplementary to, our 21st century understand- these projects to design new open learning mod- cept was inspired by observing the life of con- daily while respecting the environment. ing of literacy: a fundamental human right to the ules for children and school teachers that can ventional textiles. There is great potential to use basic knowledge and skills needed for a rapidly respond to the challenges of the 21st century. Weissensee Kunsthochschule Berlin (Green Lab 7.0), changing world. If humanity is to face its chal- Adopting strategies from open source cultures bio-wastes and create brand-new biodegradable Design Farm Berlin, Refream materials. Additionally, by recycling, redesigning This project is co-funded by the European Commission’s lenges, it is clear that there must be an informed and the maker movement, Creative School seeks and remanufacturing, we can create an ecosys- DG CONNECT, in the framework of the Horizon 2020 and empowered citizenry that has a critical and to further the development of an integrative edu- programme of the European Union under the S+T+ARTS tem that promotes a sustainable lifestyle. adaptive knowledge of digital technologies. In cational ecosystem that activates teaching and programme’s Regional STARTS Centers. We use banana and orange peels and soy-milk the Creative School project, Ars Electronica is learning resources within cultural organizations. residues to combine with a natural binding agent as substrate. The resulting composite is fully bio- Partners: Ars Electronica (AT), Dedale (FR), Cap Sciences (FR), Michael Culture Association degradable, zero-waste and easy to reuse after (BE), STePS (IT), Radiona Makerspace (HR), Heretic (UK), Chester Beatty Library (IE), the re-cooking process. Moreover, the bio-mate- Finnish Museums Association (FI) rial has a toughness, durability and water resis- Funding Scheme: Erasmus+ tance similar to leather. It also preserves a fruity Duration: 01.09.2019 — 31.08.2022 smell, refined texture and feels great to the touch. Website: www.creative-school.eu

Our focus is not only practicability but also nature- Creative School has been funded with the support of the European Union and the French friendly aesthetics that don’t just ­conserve but National Agency for the Erasmus+ Programme. © Youyang Song © Youyang

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Open Schooling and Citizen Engagement Integrative and Interdisciplinary Education

The pace of change in society — from technolog- local challenges, which are then be transformed Rapid change requires rapid adaptability, and prosperity in the 21st century. This position has ical innovation to global interconnectedness — is into pertinent research and innovation projects our capacity to adapt is informed by our ability increasingly been extended to incorporate the rapidly increasing and has fundamentally altered led by students and teachers, in collaboration to integrate diverse approaches. To accommo- benefits that ‘artistic’ practice can provide. the way people live, work and learn. Moreover, with local stakeholders. date this, higher education has had to transcend Approaches that favor a clear application of cre- the societal challenges of the 21st century bring Additionally, the OSHub.Network is developing a an historically embedded approach to learning ativity and imagination, in combination with more with them an urgent need to integrate the knowl- common methodological framework that allows that has seen different types of knowledge seg- typically STEM skills, are considered to be routes edge and expertise of different societal actors, each OSHub to identify and analyze local needs, regated across disciplinary silos. Policy ambi- to deeper insight and more transformative inno- and to develop meaningful and inclusive ways issues, opportunities and relevant actors, in order tions throughout Europe and across the world vation. of connecting schools, universities, enterprises, to address socio-economic, geographical, gender have recognized that knowledge in science, engi- What constitutes creativity and imagination is civil society, governments and local communities equity issues, and untapped growth potential. neering and mathematics needs to be nurtured to potentially contentious; though an outlook that using more innovative, efficient and open meth- Inspired by the “Mission-Oriented Research & engage with rapid technological advances. How- focuses on the intersection between the arts and odologies. Innovation in the European Union” approach, ever, it has also become increasingly evident that sciences can lead to certain, tangible benefits. The OSHub.Network is establishing a European developed by Mariana Mazzucato, OSHub.Net- art, as a unique and adaptive form of knowledge, These can include techniques for collaborating network of Open Science Hubs (OSHubs) in com- work will define a set of Open Schooling Missions should also be combined with our approach to across disciplines, an ability to consider varied munities that traditionally do not engage with aimed at addressing relevant local challenges STEM education. Art thinking offers a holistic way perspectives, and skills in identifying points of research and innovation due to various barriers: linked to the Sustainable Development Goals. of understanding complex connections and can common ground. Such competencies are combi- geographical location, socio-economic status, These Open Schooling Missions will then consti- act as a translator between different communi- natorial in nature and, if integrated into a higher or ethnic minority group background. OSHubs tute the basis for the creation and development ties of knowledge. By including art, STEAM edu- education curriculum, will lead to an acceleration inspire, empower and engage citizens — from of the open schooling projects, enabling real col- cation ensures that there is an interdisciplinary in transdisciplinary innovation. school children to seniors — in STEAM (Science, laboration across communities. switchboard operator actively integrating differ- Whilst arguments for supporting STEM are well Technology, Engineering, Arts and Mathematics) In the long-run, OSHubs will act as education bro- ent approaches to solving the problems we face rehearsed, STEAM is becoming more and more learning and research opportunities, grounded on kers in their local communities, supporting local today. prevalent in the higher education sector. This collaboration with societal agents. school networks to incorporate Open Schooling in STEAM Inc is an Erasmus+ knowledge alliance is not only as a way of ensuring that students Local OSHubs will work as mediators in their their vision and organizational structure, leading that draws together leading transdisciplinary acquire the multi- trans- and inter-disciplinary local communities, positioning schools as active to sustainable quality of education. Most partic- institutions in Europe to develop a program of skills required for the future jobs market, but also agents for collaboration between civil society, ularly, OSHubs will facilitate the bridge between best practices in higher education STEAM inno- to increase intellectual curiosity and, through col- enterprises, research institutes, and families. the needs and realities of schools and their local vation and curriculum. STEAM thinking is a pro- laborative approaches, to prime them in develop- This is performed by promoting an open schooling context and resources, as well as brokering for cess that promotes collaboration between the ing solutions to multi- aspect global challenges. approach grounded in community-based partic- implementing national/regional policies, passing arts, science, technology, engineering and maths. Furthermore, a higher education institution with ipatory research practices: throughout this pro- along signals from schools when policies are failing, STEAM evolved from STEM, an interdisciplinary STEAM at its center is well positioned to develop cess, schools and communities identify relevant and advocating for context-sensitive policies. and applied approach to education understood new and responsive curricula that move beyond to deliver the necessary skills for the high-tech the traditional segregation of faculties and and high-value jobs deemed critical for economic schools found in most European universities.

Partners: Ars Electronica (AT), Science Gallery at Trinity College Dublin (IE), Impact Hub Siracusa (IT), La Casemate (FR), Onl’Fait (CH), SCIENCE IN (CZ), Partners: Ars Electronica (AT), Science Gallery at Trinity College Dublin (IE), Municipio de Figueira de Castelo Rodrigo (PT), SciCo (EL) Birmingham City University (UK), University of Arts London: Central Saint Martins (UK), Participating Gardens: Garden Dublin, Garden Figueira de Castelo Rodrigo Aalto University (FI), Technical University Dresden (DE), University of Amsterdam (NL) Funding Scheme: Horizon 2020 Participating Gardens: Garden Birmingham, Garden Dublin Duration: 01.10.2019 — 30.09.2022 Funding Scheme: Erasmus+ Website: https://oshub.network/ Duration: 01.10.2019 — 30.09.2022

The OSHub project has received funding from the European Union’s Horizon 2020 STEAM Inc. has been funded with the support of the European Union and the Framework Programme for Research and Innovation under grant agreement No. 824581 Erasmus+ Programme.

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Besides the ever-increasing number of innovative STEAM Learning Outside the Classroom learning spaces outside traditional institutions of education, another aspect that is becoming Educational programmes have long since left innovative and inspiring approaches to informal more and more important is the development of behind the confines of the classroom. Especially learning. open source learning and teaching materials. In in STEAM education, the most innovative teaching Tackling the scientific literacy and STEAM edu- a society where interdisciplinary education and programmes are more and more often to be found cation of children and teenagers, SySTEM 2020 diverse skillsets are key, we are starting to rely in environments outside of formal learning. Coder aims to support our future citizens in a world of on toolkits that make complex topics accessible dojos, museums, science centers, maker spaces, fast-evolving science and technology. in engaging ways and are not only addressed to think tanks and many others apply their expertise The project evaluates a number of transdis- students and teachers, but can also be used at to develop interdisciplinary learning programmes ciplinary programs to design best principles home by parents looking to spark their children’s for young people geared towards equipping them for educators and examine individual learning interest in complex topics. with the kind of 21st century skill set needed for ecologies by piloting self-evaluation tools. The One such approach is currently being developed a diverse profile. Empowering them and giving resulting study will also map practices in 19 EU by spaceEU, an exciting space outreach and edu- them the tools to make it in a future job market countries, including in-depth studies in 8 of them. cation project which aims to spark the interest full of professions that do not even exist at this The input of learners from various backgrounds, of young people in STEAM (Science, Technology, time play a key role in these endeavors. including those from geographically remote, Engineering, Arts and Math), and to encourage SySTEM 2020 is an EU research project lead by socio-economically disadvantaged, minority and/ them to consider space-related careers. The proj- Science Gallery at Trinity College Dublin focusing or migrant communities are a core part of the ect inspires and broadens young minds, devel- on exactly these kinds of science learning initia- project, with several workshops taking place at ops a sense of European and global citizenship tives, and committed to developing programmes the Ars Electronica Center and the Ars Electronica and, through our shared human relationship with for science learning outside of formal education. Festival to explore the learning of 9 to 20-year- space, aims to foster long-term partnerships A large part of the project is directed at mapping olds outside schools and universities across the between people from different cultural back- the field across Europe and identifying the most project’s three year run time. grounds and countries. At this year’s Ars Electronica Festival, spaceEU shows how it brought its activities to various dig- ital levels. The exhibition Step into Space will be Partners: Science Gallery Dublin / Trinity College Dublin (IR), Ars Electronica (AT), Waag Society (NL), presented in two different forms, online as well Ecsite / European Network of Science Centres and Museums (BE), Aalto University (FL), Centre for Social as a print@home version. Further online games Innovation (AT), Kersnikova Institute (SL), Bloomfield Science Museum (Israel), LATRA (GE), Museo and space related tours will allow different ways Nazionale Scienza e Tecnologia Leonardo da Vinci (IT), Centre for Promotion of Science (SB), Parque de las Ciencias (ES), NOESIS (GE), Technopolis (BE), TRACES (FR), Raumschiff (CH), European Molecular of interaction. Stop by and find out how space Biology Laboratory (EMBL) (DE), Tom Tits Experiment (SE), MUSEIKO (BG), Fundação da Juventude (PT) science is connected to our daily life, how we can © Ars Electronica / Magdalena Sick-Leitner / Magdalena © Ars Electronica Participating Gardens: Garden Dublin, Garden Amsterdam, Garden Granada, Keplers Garden Linz create use space science to learn more about the cli- your world, Garden Espoo/Helsinki, Garden Belgrade mate crisis and how art can help us get inspired. Funding Scheme: H2020 Duration: May 2018 — June 2021 Website: ars.electronica.art/system2020/, system2020.education/ Partners: Leiden University (NL), Ars Electronica (AT), Ecsite European Network for Science Centres Museums (BE), EUN Partnership AISBL European Schoolnet (BE), Science Gallery at spaceEU has received funding from the European Union’s Horizon 2020 Framework Programme for Research Trinity College Dublin (IE), Ellinogermaniki Agogi (GR), Ciência Viva (PT), Cité de l’espace (FR), and Innovation under the grant agreement No. 788317. Parque de las Ciencias (SP), Universum® Bremen (DE), SCIENCE IN (CZ), New Space Foundation (PL) Participating Gardens: Garden Granada, Garden Bremen, Garden Toulouse, Garden Lisbon, Garden Leiden, Keplers Garden Linz create your world Funding Scheme: H2020 Duration: Nov 2018 — Nov 2020 Website: ars.electronica.art/spaceeu, space-eu.org

SySTEM 2020 has received funding from the European Union’s Horizon 2020 Research and Innovation Programme under the grant agreement No. 821832.

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ESERO Austria (AT), Ars Electronica (AT) Best of ESERO ESERO (European Space Education Resource subject education. Teacher training events are Office) is a project run by the European Space officially accredited as part of ongoing profes- Agency (ESA) and education partners in various sional development qualifications. In addition, European countries to promote the interest of ESERO Austria is producing accompanying teach- young people in scientific issues (MINT subjects ing materials to support teachers in conveying in primary and secondary education). To achieve space-related content to their students. Experts this goal, ESERO offers teachers a wide range scientifically and didactically test all materials © Ars Electronica / Philipp Greindl © Ars Electronica / Philipp Greindl © Ars Electronica of teaching materials and training programs. before they are made available. ESERO Austria ESERO Austria has been active at the Ars Elec- is also responsible for handling various student tronica Center Linz on behalf of ESA and FFG/ projects on behalf of ESA. CanSat, Mission X and A Platform for Promoting Cross-Sector BMK since 2016. ESERO organizes training ses- Climate Detectives are managed and processed Innovation across Europe sions for primary and secondary school teachers, annually by ESERO Austria. in collaboration with national partners in STEM Ars Electronica, ESA, FFG, BMK

“Innovative technologies can build bridges and explore the current challenges facing the cre- among different cultural and creative sectors. The ative and cultural industries. Who pays for the role of digital technologies for cultural and cre- content created by cultural and creative profes- ative sectors is at the heart of the Commission’s sionals? How do I reach my target group in the #Digital4Culture strategy. digital age, and how can I learn from players from That is the Commission’s strategy coupling cul- other industries who are or have been facing sim- ture and digital, using the digital potential to ilar challenges? On this page, as well as at digital empower the positive economic and societal and events on site, the project partners will pres- effects of culture.”3 Ars Electronica provides its ent best practices and inspirations, and exchange long-lasting expertise in bridging (digital) arts, ideas with representatives and experts on how to science, technology and society in the frame successfully tackle the topics and questions that of the Digital Cross Over project promoting matter today. cross-sectorial innovation and advising on best These questions are even more important now, practices projects and methods. due to the situation created by Covid-19, which Digital Cross Over is a cross sector project within obliges players in the cultural and creative indus-

the Creative Europe funding programme of the tries, public and private, to rethink their activities Team Can Sat: TU Wien Space European Commission. Its aim is to demonstrate with different business models.

Partners: IMZ International Music + Media Centre (Austria), Ars Electronica (Austria), Börsenverein des Deutschen Buchhandels — Frankfurter Buchmesse (Germany), Centrica (Italy), izneo (France). Funding Scheme: Creative Europe Duration: 01.01.2020 — 30.06.2021 Website: https://www.buchmesse.de/en/highlights/theartsplus/digital-cross-over

Digital Cross Over is co-funded by the Creative Europe Programme of the European Union.

3 CROSS-SECTORAL STRAND: Bridging culture and audiovisual content through digital https://eacea.ec.europa.eu/sites/ eacea-site/files/call_notice_guidelines_bridging_culture_and_audiovisual_2019_en.pdf

282 Ars Electronica MissionX, © Martin Hieslmair, 283 ARS ELECTRONICA ANIMATION FESTIVAL 2020 in collaboration with the University of Applied Sciences Upper Austria, Hagenberg Campus

Like so many other art and culture events, the the Golden Nica, two Awards of Distinction, and 2020 Ars Electronica Animation Festival is twelve Honorary Mentions. This year’s jury was faced with a great challenge due to the COVID- made up of Peter Burr (US), Birgitta Hosea (SW/ 19 ­pandemic. As every year, the entries in the UK), Mathilde Lavenne (FR), Erick Oh (KR/US), Computer Animation category of the Prix Ars and Mimi Son (KR). Electronica serve as the foundation for the This year featured an impressive constellation of screening program. This year’s 930 submissions themes that raise questions about the far-reach- once again provide an excellent basis for a sur- ing effects of human behavior on the environment vey of current digital filmmaking from the fields as well as about technological developments of art, science, research, and animation-film like social media, deepfakes, and AI. Particu- schools. All entries were reviewed in a pre-jury larly striking were sensitive, humorous works on round by Victoria Absmann, Juergen Hagler, and these topics that show alternatives to dystopian Nana Thurner, and some 250 works were pre- universes. In its statement, the jury especially pared for the jury session. In the course of the stressed the idea of the “female gaze,” which jury meetings, held for the first time completely was reflected on the one hand in the way female virtually, a reduced selection was assessed artists regard current issues, and on the other in online by the jury, who then — on a quite unusual the manner in which they utilize their technical jury weekend — ­determined the recipients of tools to challenge a system of dominant values. ARS ELECTRONICA ANIMATION FESTIVAL 2020

Electronic Theatre

Since 1987, the Electronic Theatre has compiled its individual parts, a photographic exploration a large number of submissions from all over the opens new perspectives on the city of Hong Kong, world, providing an up-to-the-minute survey of and another experimental film examines the col- animation art in the context of technology and lective memory of soccer fans. Two Honorary society. It impressively illustrates the dynamic Mentions this year went to VR projects, includ- development of artistic computer animation over ing a surreal experience based on the childhood the past three decades as well as the expansive memory of the director in Taiwan from around growth of various fringe areas. A glance at the 1970. In an installation with a collage of hun- works selected this year shows a broad range, dreds of video clips taken in subway stations, the from animation in the context of performance and visitor is placed in the role of a voyeur in order to installations to real-time animation and multifac- reflect on the cycle of everyday life. eted, subject-based discussions. The program offers humorous and ingenious This year’s Golden Nica winner combines live commentaries on social media, online dating, performance, sculpture, theater, and animation: data mining, and surveillance capitalism, as well the artist places her body at the center of the as infographics and data visualizations. A film projection and invites us to reflect on the conse-

Infinitely Yours, Miwa Matreyek (US), © Keida Mascaro (US), © Keida Matreyek Miwa Yours, Infinitely experiment breaks down a border town into quences of material affluence and climate change.

As has been the case in past years, in 2020 the Expanded Animation Symposium provide the there were a growing number of submissions in artists with a virtual stage for offering insights the areas of expanded animation, from virtual into their artistic processes. The exhibition, art- reality, installations, and art games to projec- ist interviews, and lectures, including making-of tion mapping. There was also an increased use presentations, are available to an international of contemporary technologies such as 3D scan- audience online, either as a live stream or You- ning, generative adversarial networks, and real- Tube video, or as a virtual exhibition on the Net. time processing. The top prize in this category All those who are able to attend the festival in went to the media artist Miwa Matreyek, and the person can enjoy the works as usual in the high- two Awards of Distinction to the filmmakers Maja est quality and in the best possible setting: in

Gehrig and Randa Maroufi. This year there was addition to Deep Space 8K, the works can be Maja Gehrig (CH) Happiness, Average (AT) DEPART Gardens, The Entropy a complete gender balance among the Top 15. seen at selected locations in Linz, such as the The question now is: how can a cross section of Open-Air Cinema on OK-Platz. At the same time, works like this be made accessible to the general programs are projected simultaneously on large public in a time of physical distance? Instead of screens in London (UK), Portland (US), and São our usual extensive screening program and var- Paulo (BR). These locations function as virtual ious playgrounds, the focus this year is on the and real nodes of the Animation Festival, are vir- Top 15 of the 2020 Prix Ars Electronica from tually integrated into the Expanded Animation the Computer Animation category and selected Symposium, and permit a small group of experts supplementary programs. In particular, the Fes- to have an exchange in real life. In addition, a tival turns the spotlight on the people behind the selection of the best current Austrian animations projects. Live interviews, the Prix Forum, and will be shown for the first time. (FR) Maroufi Bab Sebta, Randa (US) Rossin Rachel Truth, Recursive

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Austrian Panorama

In this program, animated-film directors from to the lands of their ancestors. An interactive, Austria look at problems of our time. In short poetic VR experience investigates the nature of films — some fictional, some documentary — they post-digital reality, while a touching animated challenge daily routines in our everyday digital film looks at the fantastic world of an old woman lives, examine the impacts of social media and suffering from dementia. new technologies such as VR and AR, and dis- The spectrum ranges from dystopian visions of cuss such absurd ideas as sending everyone back the future to empathetic, humorous inner worlds. Squarepusher / Terminal Slam, Daito Manabe (JP), Kenichiro Shimizu (JP) Manabe (JP), Kenichiro Slam, Daito / Terminal Squarepusher Time o’ the Signs, Reinhold Bidner (AT) Reinhold the Signs, Time o’

Deep Space 8K (CN), © Rory O’Driscoll (CN), © Rory Zhou 周雨歌 Circuit, Yuge Underground Erick Oh: Opera Réka Bucsi: Solar Walk Opera is a cycle of a five-minute animation cre- Solar Walk, by the Hungarian animation artist ated by the prize-winning filmmaker and artist Réka Bucsi, is a symphony between humans, Erick Oh. Each section is inextricably linked with animals, creatures, and inanimate and unknown the activities of the individual characters, ulti- objects. Her creations move through time and mately enabling the viewer to enjoy a complex space in a mysterious universe, with every scene construction of a vibrant pyramid, regardless of displaying the distinctive and playful texture of which character they watch first. the animation artist.

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Expanded Animation 2020 Appeal of the Analog

For years, computer graphics and animation were Appeal of the Analog The panel “Art & Industry” is presented by spaces, followed by three panel discussions on plagued with a machine aesthetic and an unset- With its eighth edition, bearing the title “The Johannes Pfeifer — Lightword Productions on the topics of “Hearing Color Seeing Sound,” “In tling artificiality. The movements were wooden, Appeal of Analog,” this year’s symposium the subject of the design of cut scenes in com- Front of Your Eyes and Ears,” “Rhythmic Analysis,” with the animated images oscillating between a addresses the attraction of animation in the puter gaming, and Miro Shot, a global collective “A Return to the Material,” and “Movement and plastic look and angularity. There was a complete context of performance, interaction, computer of musicians, filmmakers, designers, and coders. Gesture.” lack of detail, and the hardware was incapable of games, and audio. The Prix Forum opens this producing and depicting even remotely realistic discourse with the recipient of the Golden Nica, Synaesthetic Syntax: Sounding “A new media manifesto” graphics. The production of computer animation Miwa Matreyek, who won first prize in the Com- Animation / Visualising Audio panel discussion requires a great deal of labourious processes, and puter Animation category with a textbook exam- In cooperation with the University for the Cre- Leading thinkers from industry, practice, and real time represents a particular challenge. As ple of expanded animation. Drawing on the first ative Arts, Farnham, the symposium examines education discuss the need and consensus for a Lev Manovich commented in 2001, the quality of interactive animations by cartoonists like Winsor the interactions between animation and audio “A new media manifesto.” Wide-ranging topics analog was unattainable, and, thus, the develop- McCay, Lotte Reiniger’s cut-out animations, and from a scientific perspective. Researchers and such as “The survival of subculture in a global ment of an independent language for computer various forms of black light theater, Matreyek artists were asked to submit contributions on the economy,” “Long-term projected trends in edu- animation was inescapable. interacts with a computer-generated world: subject of Synaesthetic Syntax: Sounding Anima- cation,” and “A new plurality” will be led by However, although simulation has its problems with her body, depicted as a silhouette behind tion/Visualising Audio. This scientific/artistic sur- J. Harry Whalley and Laura Lee from www.audio- with spontaneity, complexity and randomness, a screen, she navigates through mountains of vey is kicked off by the media artist Rose Bond, research.com at UCA, followed by examples of might there now be ways in which messiness, trash, destroyed underwater worlds, and sink- who offers insights into her artistic work in public performance and practice. noise, and dirt could form part of the digital ing cities. The works of Randa Maroufi and Maja realm? As early as 1993, Peter Weibel postu- Gehrig, winners of this year’s Award of Distinc- lated in the Prix Ars Electronica Jury Statement tion, also take a critical look at topical issues. that “dirt finally reached the computer” (Weibel, The “Artist Position” panel, with Réka Bucsi and Speakers with ­University for the Creative Arts, Farnham, UK, 1993, p. 52), although Ken Perlin had many years Erick Oh, focuses on current themes related to Prix Forum: Miwa Matreyek (US), Golden Nica 2020, and organized by Jeremiah Diephuis, Juergen Hagler, before already developed the well-known frac- storytelling and animation. The second day opens Randa Maroufi (FR), Award of Distinction 2020, Wolfgang Hochleitner, Michael Lankes, Patrick Proier, Maja Gehrig (CH), Award of Distinction 2020 Roland Keil, Christoph Schaufler, Alexander Wilhelm / tal-noise function “Perlin Noise” to counteract with the panel discussion “Real Time.” Friedrich Artist Position: Réka Bucsi (HU), Erick Oh (KR/US), Upper Austria University of Applied Sciences’ Hagenberg the artificial look of computer-generated images Kirschner, professor for digital media in puppetry, Max Hattler (DE/HK) Campus / Department of Digital Media and Birgitta Hosea, (Perlin, 1985). discusses the interfaces of theater, performance, Real Time: DEPART — Leonhard Lass and Gregor Laden- Laura Lee, Harry Whalley / Animation Research Centre / Now, a number of years later, digital dirt has and animation, the Austrian artists’ collective hauf (AT), Friedrich Kirschner (DE), Total Refusal — Robin Audio Research Cluster, University for the Creative Arts, Klengel, Leonhard Müllner and Michael Stumpf (AT) Farnham, UK. arrived in hyperreality, and the question becomes: Total Refusal presents its multilayered Art & Industry: Lightword Productions — Johannes Pfeifer (DE), is the complexity of many simulations already interventions with computer gam- http://www.expandedanimation.com Miro Shot — Roman Rappak (UK) http://www.fh-ooe.at more highly detailed than reality itself? Does ing, and the Vienna-based art- Synaesthetic Syntax: Sounding Animation / Visualizing https://www.uca.ac.uk/research/arc/ digital complexity harbor a new charisma, and ist duo DEPART introduces its Audio: Giusy Caruso (BE), Fred Collopy (US), Eric Dyer https://audio-research.com can it be generated in real time — that is, faster latest VR installation, which (US), Umut Eldem (BE), Jānis Garančs (LV), Bavo Van Kerrebroeck (BE), Sama Mara (UK), Pieter Jan Maes (BE), Sources than can be perceived by the human eye? was awarded an Honorary João Pedro Oliveira (US) Lev Manovich, The Language of New Media, Cambridge, Mention in the Computer Vicky Smith (UK), Alexander Stublic (DE) Massachusetts, and London, England, 2001. Animation category. “A new media manifesto” panel discussion: Dennis Peter Weibel, “Dirty Data,” Der Prix Ars Electronica 93. DeSantis (USA/DE), Eduard Solaz (CAT/UK), Isa Ferri (IT), Internationales Kompendium der Computerkünste, ed. © Simon Breithofer, Julian Salhofer © Simon Breithofer, Harry Whalley (UK), Laura Lee (UK/DE), Mel Uye-Parker (UK) Hannes Leopoldseder, Linz, 1993, pp. 52–57. Ken Perlin, “An image synthesizer,” SIGGRAPH’85: Organization Proceedings of the 12th Annual Conference on Computer Expanded Animation is produced jointly by the Uni- Graphics and Interactive versity of Applied Sciences Upper Austria, Hagenberg Techniques, pp. 287–296, New York, NY, USA, 1985. Campus and the Ars Electronica Festival in cooperation ACM, ISBN 0-89791-166-0. 290 291 ARS ELECTRONICA ANIMATION FESTIVAL 2020 / Deep Space 8K DEEP SPACE 8K

The Ars Electronica Center offers its visitors artists. As they go about adapting existing something that cannot be found anywhere works and, above all, designing installations else in the world: 16 x 9 meters of wall and custom-made for this space, they’re entering

another 16 x 9 meters of floor projection, artistic terra incognita. The position of visi- © Violeta Ivanova laser tracking and 3D-animations make tors amidst the projection surface and par- the Deep Space 8K something very special ticipation by them call for a well-thought-out indeed. Furthermore, Deep Space 8K pres- aesthetic composition and concepts for the ents challenging infrastructure to media resulting dynamics. Lee Jung In (KR/AT), Mihaela Kavdanska (BG/RO/AT), Violeta Ivanova (BG/AT), Florian Weinrich (AT) DARV_ Abandoned Land

DARV is a series of projects conceived by an inter- by enforced changes along the work process, national team of artists and interaction designers the project has naturally become a response to based in Austria. Contemporary dance, site-spe- the present world situation, its limitations and cific installation and video art are connected via possibilities. technology into Mixed Reality experiences, inter- lacing real and virtual realms. DARV_ Abandoned Land is an intermedia dance DARV team: Lee Jung In (KR/AT), Mihaela Kavdanska (BG/RO/AT), Violeta Ivanova (BG/AT), performance which sprouts connections between Florian Weinrich (AT) analog and digital. The performers interact with Concept and Creative Direction: DARV team large-scale objects and video projections, resem- Choreography & Dance Production: Lee Jung In Creation Art Direction and Video Projections: Mihaela Kavdanska bling the endless migration from one world to Art Direction and Installation Art: Violeta Ivanova another in search for the better. The DARV team Interaction Design and Software: Florian Weinrich and eight dancers perform in various locations Dance Rehearsal Assistant : Lee Seung Ju Dancers: Lee Seung Ju, An Se Young, Lee Dae Heung, in Austria, South Korea and Bulgaria, guiding the Yoh Morishita, Hong Ye Eun audience through dystopian realities and aban- Funding institutions: Arts Council Korea, Linz Kultur, doned sites. Drained-off utopias, failed social Dancer’s Career Development Center Korea Project partners: Lee Jung In Creation, Redsapata- mechanisms and ideologies are embodied, TanzFabrik, KOTKI visuals, LM Media, Pusch TV explored and ultimately abandoned. Conditioned Sound: Mirian Kolev Seven Experiments in Procedural Animation, © Karl Sims Animation, © Karl Experiments in Procedural Seven

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Immersify: The Translucent St. Stephen’s Cathedral Students of the of the University of Art and Design Linz (AT) Cooperative Aesthetics The cathedral church of St. Stephen in Vienna Ars Electronica Futurelab ScanLAB Projects was spatially measured with more than 20 bil- Zuzanna Beker: Jumping Jack / Felix Winkler: Particle Scans: RIEGL Laser Measurement Systems, Dombauhütte For the third time, the Time-Based and Interactive lion laser points. At this unique level of detail, Swarm / Guggenberger Thomas: Bezier Curves / Deepa St. Stephan zu Wien Media Art department of the University of Art and Antony: Ice Cracks / Hyelim Lee: Spotlight in Figures / they correspond to a data volume of almost 400 This project has received funding from the European Design Linz will be presenting 13 new projects Elena Richtsfeld: Flowery Meadow / Lisa Patscheider: Particles / Laurenz Vojka: Faces / Maria Mandea: Divided / gigabytes and form the basis of the translucent Union’s Horizon 2020 research and innovation programme on Cooperative Aesthetics in the Deep Space 8k Max Jurani: Village / Adrienne Herincs: Natural reactions / St. Stephen’s Cathedral. This innovative approach under grant agreement No 762079. as part of the Ars Electronica Festival. The works Gerhard Funk: Moire / Gerhard Funk: Infected offers spectators an interactive journey through were created as part of the course “AEC Deep the translucent sacred building in stereoscopic Space” under the direction of Prof. Gerhard Funk 8K. The novel insights through the layers of the and assistant Prof. Holunder Heiss and enable cathedral church were created as part of the the visitors to have a common audiovisual aes- European R&D project Immersify, which is dedicated thetic experience. The interaction between all Robert Bauernhansl Bauernhansl Robert to developing the next generation of immersive — users, their communication and collaboration are media. Over three years, the project partners have essential. The concept of cooperative aesthetics created content for highly immersive environ- entails a strong social component in addition to ments using various techniques and developing its aesthetic qualities in order to let people inter-

tools for processing the produced data. © Ars Electronica act with each other. Flowery© Elena Richtsfeld, Meadow

Magister Art (IT) Magister Raffaello 2020 A marvellous journey through Italian Renaissance Julien Lomet (FR), Bastien Daniel (FR), Timothée Durgeaud (FR), Johan Julien (FR), Pierre Designed and produced to celebrate the 500th Magister Raffaello is promoted by the Italian Ministry of Huyghe (FR), Ronan Gaugne (FR), Valérie Gouranton (FR), Joël Laurent (FR), Bruno Bossis (FR) anniversary of Raphael’s death (1483 — 1520), Foreign Affairs and presented in collaboration with the Italian Cultural Institute in Vienna. Creative Harmony one of the greatest artists of the Renaissance, Magister Raffaello is a new cultural project by Creative Harmony is a networked virtual reality where only the body allows us to remotely Magister Art, digital innovators in cultural heri- artwork, inviting spectators from different cities communicate in real time. tage content creation, production and promotion. to co-create a virtual environment in real time Responding to challenges of digital transforma- through gestures. With interaction through body IRISA-INRIA, platform Immersia, Rennes 2 Univer- sity, Paris 8 University / An artistic and technological tion and social innovation, Magister Raffaello motion, each participant is led to create the land- creation from Julien LOMET, Bastien DANIEL, Timothée explores the potential of new technologies, com- scape of a marine universe, whether on the sur- DURGEAUD, Johan JULIEN, Pierre HUYGHE. Under the bining the high scientific value with the constant face of the water or in the abyss. scientific and artistic direction of Ronan GAUGNE, Valérie experimentation of new languages and media, Through letting go, music and virtual dancers, GOURANTON, Joël LAURENT and Bruno BOSSIS to create an ‘augmented narration’ and a ‘total’ spectators will be able to express themselves cognitive experience, aiming to accessibility with their bodies and connect with each other, of knowledge and the inclusiveness of widest virtually and spiritually, to evolve the world in ranges of audiences. Magister Raffaello has been which they find themselves immersed. The work selected by the Italian Ministry of Foreign Affairs invites us to connect with nature, where all the among the initiatives to be promoted by the elements of a world are connected to form a global network of Italian Embassies, Consulates totality, to live a moment of contemplation and and Cultural Institutes. The participation in Ars meditation, cutting us off from our usual life. Also, Electronica Festival takes place in collaboration it is through collective interactivity and listening The Deposition of Christ (Pala Baglioni), Raphael Sanzio Sanzio Baglioni), Raphael (Pala Christ The Deposition of Alberto Photo: Novelli Borghese, — Galleria © MiBACT with the Italian Cultural Institute in Vienna. to each other that we can live a floating moment Cécile Tassé Dancer: © Julien Lomet Harmony, Creative

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Stefan Traxler (AT) Till-Holger Borchert (DE) Geophysics, drones, laser scans… Jan van Eyck was here, there and is now everywhere … tracking the ancient Romans with high tech On the occasion of the Van Eyck Year 2020, Ars With the kind support of the Flemish Government, Electronica, in cooperation with the General Saint-Bavo’s Cathedral, Musea Brugge, Art in Flanders When thinking of archaeology, we usually imagine and the Belgian Royal Institute for Cultural Heritage. Delegation of Flanders, Musea Brugge and with classical excavation sites. But nowadays there are All images are accessible on closertovaneyck.kikirpa.be the kind support of the Belgian Royal Institute several methods that go beyond the typical tech- Images of Van Eyck in Flemish art collections — such as for Cultural Heritage (KIK-IRPA) and Art in Flan- the Ghent Altarpiece — can be downloaded free of charge nique of archaeological digging. Whether through ders; high-resolution images will be shown of Jan at artinflanders.be the use of GPR (ground-peretrating radar) to take van Eyck’s most famous masterpiece, the Ghent “X-ray” images of the ground, or drones to recog- Altarpiece, as well as other images made by KIK- nize features of the terrain, or 3D laser scan doc- IRPA for the VERONA Project (Van Eyck Research umentation — the area of the Danubian Limes is in OpeN Access). The presentation will be given being explored with all of these methods, among

© 7Reasons by Till-Holger Borchert, art historian specialized others. In this segment, expert on ancient Rome in Van Eyck and director of the Musea Brugge. Dr. Stefan Traxler (OÖ Landes-Kultur GmbH) will An insight into the creative environment of the give you an overview of current projects. artist and his crafts and techniques will also be OÖLKG / OÖ. Landesmuseum on display. Deep Space 8K technology will again reveal details from the works of art that remain hidden from normal viewing. Maki Namekawa (JP/AT), Cori O’Lan (AT) Pianographique

Philip Glass: Passacaglia (Austrian premiere) In search of what is fundamental in reality, beyond Elliot Goldenthal: Gigue Diabolique the immediate perceivable. The outward journey Joop Beving: Ab Ovo, Midwayer, Hanging D reflects the inward journey, much as the build-up Carolina Bischof (AT), Andreas Dorner (AT), Lena Kalleitner (AT), Adam Lamine (AT), of our inner workings reflects that of the macro- Thomas Tippold, Matthias Husinsky (AT), Clemens Scharfen (AT) Pianist Maki Namekawa will be back cosmos. Once that idea starts to down on you, Mirage — An Interactive Experience with Cori O’Lan to DeepSpace! the level of connection deepens beyond imagi- nation.” These works and their visuali­zations are In Mirage — An Interactive Experience, Deep during a project semester of the Bachelor Media Philip Glass’ piano solo piece Passacaglia: After a the result of a long-time artistic collaboration Space 8K visitors find themselves in an alien Technology Course at the University of Applied tranquil opening, we break into boiling and purely between Maki Namekawa and Ars Electronica world, where they collectively partake in a story Sciences St.Pölten. pianistic passages of arpeggios and scales. Philip under artistic director Gerfried Stocker. appealing to multiple senses. Up to 16 persons Project Team:Carolina Bischof, Andreas Dorner, Lena Glass’ trusted pianist Maki Namekawa (who has can actively participate in this encounter. Kalleitner, Adam Lamine, Thomas Tippold, Coaching: Maki Namekawa: Piano premiered several of his piano pieces) performs In this abstract-looking world, visitors must find Matthias Husinsky, Clemens Scharfen Cori O’Lan: RealTime visualization this work in its Austrian premiere. hidden pathways to a portal through teamwork, Elliot Goldenthal lives in NY. He is an American solve puzzles cooperatively and avoid mani- composer of contemporary classical and film fold hazards. The interactive possibilities of the scores. He won the Academy Award for Best experience can be explored by the participants Original Score in 2002 for his work for the film through play and without explanation — the focus Frida. Both pairs of his grandparents emigrated is on joint discovery. to the USA from Bucharest, Romania, and this is The elaborately designed 3D graphics and adap- reflected in his works, including Gigue Diabolique. tive soundtrack make full use of the extraordinary Joep Beving, a successful Dutch composer says: possibilities of DeepSpace 8K, so that the par- “I envisioned it as a journey into the cosmos, far ticipants are completely immersed in the expe-

away from the self where it had started. H. Bitesnich © Andreas rience. Mirage was developed and implemented

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THE WILD STATE

On the question of safety and the where we met, worked, discussed and produced. Kunstuniversität Linz Campus almost certain probability of uncertainty The public sphere is, however, limited to the materially alienated body, our mirrored virtual at Ars Electronica Festival Security. Everything revolves around this one bodies, which have been stripped of their weight ausstellungen.ufg.at/wildstate word at the moment: a state of maximum possible and which form, together with others, without cannonballing, so as not to be infected with gravity in the networks and the platforms of the Covid-19 or endanger others. For security reasons, world. The pushing back into the private sphere THE WILD STATE is the title of this year’s people on this planet have been voluntarily forced out of fear leaves traces. And increased testing of Kunstuni-Campus activities at the Hauptplatz to withdraw from public life. For security reasons, our own online persona also influences us. Do we Linz. A “wild state” is an untamed territory wars have been stopped, people are no longer still recognize ourselves in the virtual mirror? Do where many things can happen uncontrolled, allowed to work or travel, borders are and remain we reflect our insecurities here or does this form where laws and regulations are left to them- closed, airlines are going bankrupt and we’re see- of reflection also selectively focus on exactly that selves and forms of consensus are tested. ing premonitions of a world economic crisis to which increases our insecurity? But THE WILD STATE is also a description follow. of the state of the impulsive unknown, the It is a time in which we sit at home in a self- resistant, the random, the loud and the rov- determined way: for our own safety and that of From the UNCANNY FRIENDS to STATE ing. Like in a natural garden or the wilderness, others. We are, however, insecure: we fear for our OF INTIMACY to AGORA DIGITALIS where something grows, develops and jobs, we argue with our loved ones at home, we blossoms without having been planned, wear masks when we use public transport or have Young artists have a reputation for resilience. controlled or cultivated. The Ars Electronica Festival, which this year has Kepler’s Garden as its to leave the house, self-motivated. Despite economic difficulties and a general lack theme, is being offered a kind of wild artistic garden in the form of THE WILD STATE to complement of social recognition, they cling loudly to their the range of its many partner gardens. Why WILD STATE? Because the question of security and ideas and believe in their visions. Giving up easily insecurity, which currently dominates everyone’s lives, is not asked superficially, but is overlaid Mirrored self is not an option for them. This kind of resilience by the courage to face the indeterminate, alien, resistant, exuberant and noisy. has served them well in the recent global crisis, Our bodies are exposed to bacteria and viruses, as artists are used to working under difficult con- and if one thing has become clear to us in the ditions and adapting quickly to new situations. As time of online calls and meetings it is that our with an ecosystem in which some plants manage When the corona pandemic counted a declining What exactly does Ars Electronica intend to do bodies are actually dirty, they are disease to adapt to the most hostile conditions, creatives number of infected Covid-19 sufferers and the this year and will it take place? What are we carriers to be pushed back into the private sphere and artists would find ways to keep going anyway. initial restrictions of the Austrian federal govern- going to do with the students who are seeking because they are sources of danger. A body that Projects and works of art that were supposed ment softened, artist and former biologist Christa an existence without a side job and who fall should be washed constantly, hands that have to be physically produced had to be developed Sommerer and curator Manuela Naveau met in out of many public funding source? What do to be ­continuously disinfected and distances online, teaching was done via web platforms, con- Sommerer’s garden. They philosophized about we do ourselves if we can’t reach enough stu- that need to be kept between bodies. But our cepts had to be changed and improvisation and and discussed plants, people and viruses and dents or nobody at all with our ideas for the mirrored self can present itself in a completely quick adaptation became the modus operandi. finally laughed together again. Art University Campus 2020? How about the different way: online we are allowed to meet The metaphor of THE WILD STATE was born. What was striking, however, was the uncertainty audience, which is worried about its future? And and to get very close and unite. From one day A complex territory emerged in the minds of that dominated all their conversations: are we is anyone at all interested in artistic-philosophical to the next, the representation of the public was artists who were now free from previous rules allowed to meet at all? questions during a pandemic? limited to the virtual public, to online places and regulations, and searching for a place

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that would give them the courage to think and Design: Tech.Tex will be discussing processes create online, as well as offline. Like a foreign, for merging techniques, new materials and their The Wild State: Networked original, newly discovered country, THE WILD mediation in CRAFTING FUTURES. Last but not STATE promises only natural laws and no artifi- least, one of the highlights will be THE WILD cially imposed ones. It allows many seeds of ideas STATE: NETWORKED Exhibition, where the latest that have flown in to grow, and lends them rich works on the topic of the pandemic were jointly soil, fertilizer and attention so they can mature, curated by several partner universities from Exhibition by partner universities of the untamed, to full development — and full diver- Europe, the USA and Asia. In this way, the large sity. In THE WILD STATE, the question of the dirty international network at the University of Art University of Art and Design Linz body is not present. Artificially constructed sys- Linz is being maintained and further expanded, The exhibition is curated by Julia Nüßlein and Davide Bevilacqua. tems of classification and evaluation give way to as close international cooperation becomes natural coincidence and its seemingly inherent especially important for students and teachers laws. The goal is not to understand them, but to in the long term, especially in times of crisis. The The many events of the early months of 2020 have The Wild State: Networked exhibition seeks react to them intuitively, wildly, uninhibitedly, splace on the Hauptplatz is not only a place for turned our world upside down. The Covid19-pan- to leave the state of uncertainty behind us by courageously and loudly; exactly the qualities our international guests, but also a free space for demic has profoundly changed the way in which bringing some of the most recent and compel- that outshine finiteness, withering and dying in the Internet flea market YAMI-ICHI. we live, work and move. Many have and are still ling contributions to the Hauptplatz in Linz. We the wild garden. Following an incisive period of security measures, experiencing this time as one marked by uncer- are delighted to present works by Master and In THE WILD STATE of the University of Art protective regulations guided by fear, the repres- tainty and precariousness. On the other hand, a PhD-students touching on topics related to the and Design Linz, a symposium asks about the sion of our bodies from the public, and the digi- world in flux also offers the possibility to question truly “Wild State” we are currently in, and the UNCANNY FRIENDS, the Interface Cultures pro- tal reflection of our shape, thoughts and actions, habits, and an opportunity for new beginnings. natural processes related to it. gram presents the exhibition STATE OF INTIMACY we go out and offer images and scenarios of a and reflects, by means of performances and dis- WILD STATE. For what we have learned from the cussions, on the desire for forms of publicity in pandemic is that nothing is as safe as it seems. Participating artists: – University of Paris 8, Paris, France: Aurélien Duval, the AGORA DIGITALIS. In times of large amounts of data and predictive – Aarhus University, Aarhus, Denmark: Laura Lassus-Pigat, Hyunah Jung, Vicky Michalopoulou, Sophia McCulloch, Mads Lindgaard, Jonas Paaske In addition “Interfacing Hauptplatz”, on the main analyses, we have to admit that we know that Juan Patricio di Bacco – Willem de Kooning Academy — Piet Zwart Institute, square in Linz presents a reflection of our reality we don’t know. The world and our ecosystems – Politecnico di Milano, Milan, Italy: Giulio Interlandi, Experimental Publishing, Rotterdam, The Netherlands: through an oversized window into another world: are still very fragile, and we are more vulnera- Gabriele Ragusa, Zi Yin Zhou, Xiaoman Bai, Carlo Leone Artemis Gryllaki, Rita Graça, Paloma García García ANTOPOLIS is an interactive installation by Christa ble than we think. One thing we can learn from Cattani, Marco Eugeni, Nicolò Masini, Eleonora Volpato – University of California, Santa Barbara, USA: Sihwa – IAMAS — Institute of Advanced Media Art and Sciences, Park, Mark Hirsch Sommerer and Laurent Mignonneau in which artists and creative people is survival skills. Like Gifu, Japan: Macoto Morishita – Aalto Media Lab, Aalto, Finnland: _Kolvolv & Kaappo passers-by become part of the artwork. The work some extremely resilient plants that can adapt to – University of Minho — Institute of Social Sciences, Lähdesmäki / Lasismi, Bailey Polkinghorne itself refers to our relationship to nature, which extreme temperatures, they are able to transform Minho, Portugal: Marco Heleno – National University of Theatre and Film “I.L. must be reflected anew, especially post-corona. even the most hostile of situations into something – Trondheim Academy of Fine Art, Trondheim, Norway: Caragiale” — CINETIC, Bukarest, Rumania: Sebastian The AV-Installation “The Transient Shadows” by fertile and generative. Unnur Andrea Einarsdóttir, Mina Paasche Comanescu, Octavian Albu – Universitat Politècnica de València, Valencia, Spain: – Masaryk University — Faculty of Arts: Black Box / DEPART visualizes and sonifies what is invisible Natacha Cabellos, Noelia Medina Černá skříňka Project and transitory in our time. The SOUND CAMPUS is – NABA Nuova Accademia di Belle Arti, Milan, Italy: dedicated to musical performers, while ­FASHION Emanuele Cantò, Gaia De Megni, Marco Antelmi & TECHNOLOGY sketches democratic and Text: Christa Sommerer & Manuela Naveau sustainable ways forward for the fashion and The Wild State Program Team: Christa Sommerer, clothing industry. Workshops are also a must, and Manuela Naveau, Julia Nüsslein, Sylvia Leitner, students from the Teachers Training course Davide Bevilacqua

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Interface Cultures, Juan Pablo Linares Ceballos (CO) University of Art and Design Linz All at Once Faculty: Fabricio Lamoncha, Anne Nigten, Christa Sommerer, Laurent Mignonneau, Davide Bevilacqua, Gertrude Hörlesberger All at Once is a project focusing on the space been seen becomes an action towards the world. between images, the way memory rewrites itself The installation proposes a space of compressed constantly from the visual stimulus that we are time between those simultaneous steps as our exposed to through our screens, and how it vision travels around them. In the field of media art and technology we often or profit? What is the impact of this confinement shapes the world we inhabit. The project presents discussed, until recently, how to design intimate on our private life, on our democracy? As a sign a reflective visual digital space made from images technology. And the desire to be departing, like of the time, the exhibition even includes artistic constructed using 3D software, programming and Harry Potter, from Platform 9 ¾ seemed to be a responses to ‘skin hunger’, a new phenomenon visual editing tools. It is an installation of multiple major incentive for augmenting and mixing real- that came along with the new realities’ hygiene screens displaying short videos from captures ities. Until last spring, when the University of Art and social distancing regulations. of my screen while I work on constructing the and Design in Linz had to close and a lockdown Independently from the isolation, several projects images I desire. The videos are played in ran- immersed us all, unwillingly, in a virtual world show artistic and ethnographic experiments with dom order on each screen, so that different visual whilst the physical world seemed to be replaced social interfaces. These projects lead us down compositions are possible while people visit the by daily statistics. This is the context for the to unknown (fictional) paths in our visual cul- space: there is always something not being seen Interface Cultures students who worked, for the ture where the individual and society intersect. as we turn our eyes to the other side. I wonder full 2020 summer semester, in confinement on Other paths take us to more distant, but urgently about the process in which each image that has their projects for this exhibition. topical, viewpoints of general concern about our The Interface Cultures students show us their online lives and bring forward pressing issues survival tactics: how they dusted off the romantic such as: How vulnerable are we online? How artistic solitude as a way to fight the feeling of do we come to supported resolutions and deci- being isolated. The exhibition shows how art can sions online? Is our media and biological literacy Various artists both distract us from loneliness and magnify our future-proof? social needs in times of confinement. Moreover, What all these years’ student projects share is a COCO-lands the exhibition highlights, maybe even more than call to remain alert, a state of emergency. before, the relevance of art and artistic research Moreover, this unique exhibition reflects, in COCO-lands is a growing digital archive of inter- understand and overcome the personal and social in the digital realm. many respects, the diversity of the international national media artists dealing with the global anxiety and repression that are slowly becoming Several of the works draw us into the intimacy Interface Cultures students group. Many of the COVID-19 crisis. Starting on March 15th, the central to the current globalized lifestyle. of the student’s private sphere, as if we are students’ art and technology projects seem to participants shared their personal reflections sitting next to them, locked up in their student encourage us to consider new collective values. on the various forms of isolation from a variety room in the dorm or wherever on the globe they We hope you’ll be inspired and alerted by their of geographical contexts: from almost complete were stranded when we all went into lockdown. intimate, artistic, socially engaged, technical isolation in Italy, over the strict measures taken in Whilst some of the students invite us in, others informed or critical views on our life over the last Austria, to the serious social consequences faced are keen to keep us out, and critique the state half year. in the USA and permanent isolation on a remote of our privacy. We are taken behind the scenes island in the middle of the Atlantic Ocean. The and learn that, although we are lucky to have the Text: Dr. Anne Nigten, Guest Professor of Interface contributing artists decided to create their digi- GDP in place in Europe, we risk privacy erosion Cultures tal diaries as a ritual without knowing when the Exhibition Management: Fabricio Lamoncha Martinez when one is asked to ‘donate’ private data. The process might end, to inspire each other against Production/Design team: Giacomo Piazzi, Sofia Braga, tech savvy students bring forward questions such Antonio Zingaro, Matthias Schäfer, Kevan Croton, the quarantining of their passions and against the as: Sharing one’s intimate data for a good cause Mario Romera, Juan Pablo Linares Ceballos, virus as a social epidemic. They thereby tried to

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Thu Trang Eva Ha (AT/VN) Afra Sönmez (TR), Nursinem Aslan (TR) WWWORLDGARDEN ONISMA

WWWORLDGARDEN is a social virtual reality expe- back through dance, to create a nonverbal feed- A textile organism as an electronic instrument. rience. The online space is built around the con- back loop in which both parties operate as a unit. The meaning of the word ‘onism’ comes from cepts of electronic dance music festivals. Playful Thu Trang Eva Ha — aka Shinsekai — establishes the frustration caused by the awareness of being lasers, smoke machines, powerful projections WWWORLDGARDEN, an online stage to celebrate bound to one body that can inevitably experi- and flashy visuals promote feelings of ecstasy. the virtual festival experience. ence only one place at a time. ONISMA offers a In a state of emergency such as the current one, way to overcome this new feeling by offering the it is not possible to organize cultural events safely audience the possibility to escape the place in and the date when we might return to concerts, which they feel stuck, to reach a different one. A clubs, or festivals is unknown. Cultural gather- sound journey is activated through an electronic ings are the last on the list of social events to organism fed by urban sounds, which offers the return. Despite DJs using social media platforms audience an alternative way to walk through vari- for live stream events, listening to techno music ous cities. Church bells, birds, subway announce- at home cannot compare on any level to how ments, etc. become the foundation for a new music is experienced at a physical rave, where an experience of the urban landscape that allows intimate communication between the DJ and the us to overcome our bodily limitations. participants is established. DJs interact with their crowd through music, and the crowd interacts

Vanessa V (concept and design), Andrea Macchia (images), Jaskaran Anand (AT/IN) / Technical direction: Stefan Fuchs (AT) Vincenzo Guarnieri (scientific design) (IT) In-between Privacy Photosynthetic Me Photosynthetic Me emerges from a process-based could swap genes with other species, becoming In-between Privacy emphasizes the interconnect- experiment around the idea of becoming plant- like leaves? Is this natural? Can I evolve in my edness of society and addresses the visibly ris- like in which I am the test subject. It is based imperfection? Is it possible to be perfect? ing importance of “Body.Self” interactions. The on scientific studies of the photosynthetic qual- project aims to develop a new language for the ities of the Elysia chlorotica slug. The aim is my Production: Alessia Gervasone understanding of individual physical and digital Thanks to: Mara Brancaccio and her laboratory for the evolution, whereby I try to activate a photosyn- privacy, and discusses definitions of private/pub- scientific support and Andrea Ballo for the images thetic system that can make me self-sufficient lic space in a society comprised by diverse cul- provided during the Covid-19 quarantine. in terms of food and energy requirements. The tures. In-between Privacy is grounded on the idea installation explores the limits between science, that there is no separation of “me”, but rather a fiction, art and life by displaying video and text collective “I”. It manifests through an interdisci- documentation. It also actively involves the vis- plinary series of performances, discussions and itor. Photosynthetic Me is part of a personal path digital prototype(s) focusing on the geo-politi- Collaborators: Department of Art Education — Museen started a few years ago when I tested positive cal nature of the “Body.Self” to enhance social der Stadt Linz (NORDICO), Plankton Electronics Movement, Spätschicht, RENU, Kilian Jörg, NANNA, Monica Vlad, for the risk of two genetic mutations: breast can- interactions at various levels with the audience Yazdan Zand cer (BRCA1) and thrombosis (MTHFR), in light of and the artist. It adheres to the concept of “True. inbetweenprivacy.lilimit.com which I decided to inquire into the debate around Self” & “False.Self,” where the “True.Self” can innovative genetic techniques. What if we could also be hypothesized as avatar, the copy of digital replace the diseased parts of our DNA? What if we content unknown to the individual.

306 307 KUNSTUNIVERSITÄT LINZ CAMPUS / STATE OF INTIMACY Indiara Di Benedetto (IT) S()fia Braga (IT) Portrait of a Generative Memory SSID: tag me

How does someone interpret and recall a human individual. Independent from any precise logical There is a disfigured area in the exhibition space. face? How can these memories and related elaboration, it processes the content of a sensory Can you see it? Reach it. Take your smartphone emotions be communicated? In an attempt to experience. The elements of the human face that out of your pocket. Oh! It’s already in your hand. remember individual faces while dealing with a person can remember are combined and inter- By connecting to the routers you can watch the large amounts of pictures, Portrait of a Generative preted to generate a new series of abstract and videos I Stalk Myself More Than I Should and Wel- Memory focuses on the subjective interpretation unrepeatable portraits. come to My Channel. Next to the routers you will of personal memories by collecting information find a smartphone showing Die Verwandlung, a about the elements that people are able to mem- psychological horror movie made for the Insta- orize about a human face. The project is centered gram stories format and meant to expire in 24h. on the relationship between observation and The series of videos investigates appropriation, imagination: observation, as the method used the improper use of private content published on to internalize reality through our intellect, emo- the internet and online nihilism. tions and experience; imagination, as a personal and individual interpretation of a given experi- ence, influenced by the thinking patterns of the Nomi Sasaki (PE/JP) Track-track: Let’s Follow the Cat! Mario Romera (ES) A hungry Andean cat travels to the coast to fish, show investigates how children recognize them- Proof of Consensus unaware that he has some unexpected followers. selves as data sources and how they perceive The project recreates a short micropuppet the- their own digital data as a resource. POC (Proof of Consensus) is a web application Following the echoes of social movements, it digs ater for children where the scenography is ani- meant to facilitate decision-making processes into machine strategies and techniques to inves- mated by the spectator’s biometric data. While within groups. It provides the space and time to tigate new ecosystems in which humans can learn seeing the show inside a box through a peeping rethink how consensus mechanisms work. Within to understand each other and form consensus. hole, the kid activates sensors that take their data this art project, participants will find a combina- to move clouds, waves, and more. Inspired by tion of technologies such as Peer to Peer (P2P) Lambe Lambe puppetry, Track-track: Let’s Follow protocols, Natural Language Processing (NLP) and the Cat! aims to explore children’s new digital distributed computing algorithms (Scuttlebutt, environments and the concerns that biometric pseudo-PAXOS) joined with data visualization­ data and privacy imply. This interactive puppet techniques (text vectorization), design thinking (reverse engineering company strat- egies) and methodologies from social move- Amir Youseff (FR) ments. Proof of Consensus is a “stalker” into the world of politics, technology, society and art. Floating Spaces

Floating Spaces is a three-dimensional kinetic Bálint Budai (HU) sculpture that unites the forms of a Tanoura What’s Next Whirlpool Dancer and a spinning top. It produces a poetic kinetic atmosphere by engaging with What’s Next is a VR installation based on visual the surrounding spaces and reflecting off sur- imaginaries related to existing concepts of after- rounding monuments. The work is inspired by a life. The artwork gathers all these visions into distinctive feature of contemporary large cities, one, as a multitude of entities levitate in a gen- namely, the disappearance of local, neighborly erative space together. Through virtual reality, relations, and the resulting loneliness, alienation, participants can see how a “non-real” lifeform and atomization of the citizens. Floating Spaces might look like. thus reveals the hidden design of public spaces and values of social inclusion and integration. 308 309 KUNSTUNIVERSITÄT LINZ CAMPUS / AGORA DIGITALIS AGORA DIGITALIS Leonardo/ISAST — Education Arena Publishing & Mentoring Workshop

Agora Digitalis is the Interface Cultures’ meeting immerse us in intimate multisensory experiences Leonardo/the International Society for Arts, Our Commitment to Art-Sci Education: Leonardo point during the 2020 Campus Exhibition. The and transport us to alternate realities. Though Sciences and Technology (Leonardo/ISAST) is is where ideas don’t take sides. We advance this general idea behind it is to create an informal set- this might sound like high-flown ideal, we’ll need a global enterprise think-tank creating inroads belief by forging pathways for access through ting where students, (future) makers and future imagination and radical creativity to shape our to imagine a better world, regenerate hope for multilingual publishing, digital platforms and vir- students can meet and become acquainted with mixed reality. Or as Pierre Levy once wrote: “[...] humanity and achieve breakthrough solutions to tual participation, breaking through barriers and Interface Cultures. Agora Digitalis is a physical imagination, and especially collective imagina- our most complex problems. Fearlessly pioneer- limitations due to travel, language and/or state and virtual place where everyone should be able tion, produces reality.” (Lévy, 2005) In this con- ing since 1968, Leonardo serves a global network policy. We stand by the values we share with to share and express their ideas. It is planned as text, it is probably unnecessary to state that our of scholars, artists, scientists and researchers by ASU: excellence, global engagement, purpose- a place for informal learning and critical debate recent experiences taught us our reality is mixed, publishing the world’s leading academic publica- ful & impactful research, social embeddedness, about developments in the arts, technology and and with considerable shortcomings. Interface tions with MIT Press, incubating transdisciplinary student success, sustainability, valuing entrepre- science. Cultures finds itself at the spot in which art, tech- community nodes through our international neurship & innovation. Designing the future of This year’s State of Intimacy edition will undoubt- nology and science intersect. Initiatives such as LASER Salons, supporting critical thinking and Arts Publishing with The Wild State — Kunstuniver- edly reflect on our recent online experiences and the Science Technology and ARTS (STARTS) Prize, research through art-sci residencies, designing sität Campus at Ars Electronica: The next genera- it might also, in its slipstream, revisit recent tech- hosted by Ars Electronica and others, show us impactful conventions across time zones and tion of art-sci-tech practitioners around the globe no-utopian ideals. To kick-start the Agora Digitalis that this nexus is a splendid point of departure disciplines, and supporting educational innova- will converge at THE WILD STATE, supported by debate, I’ll highlight some issues that surfaced in to catalyze the sort of creativity that’s needed to tion through our partnership with the #1 pub- the Ars Electronica platform and The University recent conversations and reflections with stu- shape (parts of) our near future. (Nigten, 2020) lic research institution, Arizona State University of Art and Design Linz, to influence the future of dents and artists. For the sake of the argument, It is therefore important to discuss with students, (ASU). Through the ASU-Leonardo platform, we arts research and publishing. As Leonardo/ISAST I’ll summarize them in bold statements: artists and their science and technology allies are creating agile educational opportunities to begins to design for the future of experimental – Recently, the city and the world came to a how they perceive their role and the relevance of respond to — and drive — industry, policy and publishing, we must include a multi-generational, stand-still and we had to move our learning art in these times of change. global learning. Our educational program sup- trans-technical, multilingual and transnational and work lives to online environments. This ports innovative microlearning modules across approach. Partnering with THE WILD STATE and confronted us with the internet’s sensory multiple [formats/modalities], mentorship, early the University of Art and Design Linz is essential Program Team Agora Digitalis: shortcomings. Dr. Anne Nigten, Carla Zamora publishing entryways, non-linear experimental to deploying educational-to-professional models – The dominance of commercial software plat- References: Damian Carrington, Coronavirus: ‘Nature is publishing, full-cycle ideation and creative pre- of practice. forms forced us to face that our daily online sending us a message’, says UN environment chief, 2020 senting opportunities. More at leonardo.info experiences are situated in a neo-capitalist https://www.theguardian.com/world/2020/mar/25/ coronavirus-nature-is-sending-us-a-message-says-un- transactional playground. environment-chief – For IC art students and artists in the field of Paolo Giordano, How Contagion Works, 2020 art & technology, a good internet connection Pierre Lévy, and technical literacy are more important than Collective ever. Intelligence, A Civilisation: The Internet Yami-Ichi – The pandemic brutally pointed to our prob- Towards a S()fia Braga (IT), IDPW (JP) lematic relationship with our biosphere; what Method of Pos- we eat and what we breathe. itive Interpre- Shut down your computer and join the third edi- organized in various cities like New York, Seoul, Please note that I’m not putting these issues for- tation, Article in International tion of The Internet Yami-Ichi in Linz! The Internet Moscow and Berlin. ward as doom scenarios. On the contrary, I see Journal of Poli- Yami-Ichi derives from the Japanese for “Internet http://yami-ichi.biz/ them as references to the also frequent hope- tics Culture and Black Market,” but also for “sickness” and “addic- ful voices from engaged artists, scientists and Society, 2005 tion.” It is a flea market where people consumed authors that have labelled the pandemic a game Anne Nigten, by the Internet can share and buy Internet-­ changer, a turning point for change. (Carrington, STARTS Prize, Evaluation related things in real life. The Internet Yami-Ichi Giordano, 2020) We are now in a position to 2017-2019: was created by the Japanese art collective IDPW rethink and maybe even reshape our reality. To A Theory of in 2012, and took place in 2012, in Tokyo, for the do so, we need creative forces that are able to Change, 2020 first time. Since then, many editions have been

310 311 KUNSTUNIVERSITÄT LINZ CAMPUS / CRAFTING FUTURES CRAFTING FUTURES Growing Together Alexander Grabner (AT) Φως [fos]

Crafting Futures shows works by students of Within the framework of the course, this chal- Φως [fos], by Alexander Grabner, addresses how, the bachelor course Design: Tech.Tex, teachers lenge is seen as an opportunity. The research and though we are surrounded by the most modern training for technical and textile works, which creative examination of traditional craftsmanship technology, intended to make our lives easier, the were created during the last year. Its focus is on in the context of new, digital technologies plays essential and original can often remain hidden. the active examination of questions concerning an essential role in working constructively and Φως (gr. Schein, Licht) is an electric generator the future of craft, the craft of the future and productively across (material) boundaries. In this that alludes to Plato’s allegory of the cave. It the crafting of futures. In many ways, the indi- context, the development of independent artistic shows power and light at the same time and also vidual works objectify the merging of various and creative works is the starting point for weav- outlines the history of human progress through approaches, materials and techniques; topics ing theories, practices, and mediation together in the materials and techniques it uses. that play an especially important role in the study ever new ways. and subject of handicrafts. The areas of techni- cal and textile craftsmanship, which used to be Participants: Robert Angerer, Yara Bartel, Lisa Benedikt, taught separately, are being merged into one, Alexander Grabner, Michaela Haager, Lisa Hametner, thus breaking down long-standing boundaries. Sofie Lüftinger, Tamara Lang, Johanna Pichlbauer, Hannah Perner-Wilson, Neriman Polat, Isabel Prade, Andreas This both demands and encourages a new and Schmied, Alessandra Steiner future-oriented conception, practice and reflec- Department Design: Tech.Tex: Ingrid Hackl, Astrid Young tion on design and its communication. and Irene Posch

The following four works were created in the con- and visions have emerged from the process of Lisa Benedikt (AT) text of the “Faser-Faden-Fiktion” (Fibre-Thread- spinning fabrics into fibres and spinning them, in Fiction) project, an expedition on electronic tex- turn, into fictions, and these have all been docu- 3D Printed Cross Stitch tiles, their materials, questions and ideas, led by mented as travel guides for future travelers. 3D Printed Cross Stitch, by Lisa Benedikt, crit- Hannah Perner-Wilson. New objects, discourses ically examines whether and how old, analog textile techniques should be reinterpreted and digitalized, and if they can be digitalized at all. She combines handicraft techniques and regional patterns passed on from generation to generation Robert Angerer (AT) with pride and appreciation for new technologies: in this case, 3D printing. The Sound of Tea The Sound of Tea, by Robert Angerer, shows the results of an exploratory process to create a material -kombucha- from tea, sugar, water and Lisa Benedikt (AT) microorganisms, and to construct loudspeakers out of it in combination with bent-and-wound Shining Tradition copper-wire and a permanent magnet. Shining Tradition, by Lisa Benedikt, is based on painting and the conception of the traditional cos- The deliberately reduced construction method two lamp models by Vico Magistretti, combining tume of Lienz are taken up to design a new lamp brings the material to the fore, even as it draws iinnovative technology, practicality and a consis- object in a combination of ceramics, glaze and the viewer’s attention to the simple function of a tent statement. Concrete elements from peasant electronics. loudspeaker.

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Michaela Haager (AT) Lisa Hametner (AT) SichtLicht Illuminated Paper Wave

SichtLicht, by Michaela Haager, is a warming Illuminated Paper Wave, by Lisa Hametner, illus- scarf that is the ideal companion for cold and trates the versatility of paper, here implemented dark seasons. It not only keeps you warm and in moving light modules. The waterbomb folding looks good, but also makes sure you are visible to used supports the implementation of the wave, others in the darkness thanks to cleverly sewn-in its gentle dynamics complemented by the pulsat- LEDs. During the day, the lights can be switched ing programmed light. The blue-green light color off and the battery charged. Thus, SichtLicht can reflects the basic idea of a relaxing light object. be adapted to individual situations and wishes through a variety of binding and wearing options.

Sofie Lüftinger (AT) Joystick Tamara Lang (AT)

Joystick, by Sofie Lüftinger, arose from an exam- hortus scholae/hortus artium ination of the discourses on textile handicraft hortus scholae/hortus artium, by Tamara Lang, three-dimensional objects are used to imitate in the field of tension between gender norms, deals with the design of school gardens from the nature through textiles. productive conditions in the textile industry, and perspective of art and work education and prop- their emancipatory potential. Interaction with agates it as an artistic interdisciplinary place. Joystick makes a hidden motif visible, thus cre- Illustrations visualize this examination, and ating a moment of surprise of exposed intimacy that is also meant to reduce shyness.

Various artists Yara Bartel (AT) Märchen, Mythen, Materie Hey Sirius The Ars Electronica Center will also be show- Hey Sirius, by Yara Bartel, is based on ancient ing works by Robert Angerer, Michaela Haager, oracles that often made mysterious statements Sofie Lüftinger, Neriman Polat, Andreas Schmied about the future. It is reminiscent of textile and Alessandra Steiner that have emerged from murals and sounds like a modern language assis- the project Märchen, Mythen und Materie (Fairy tant. Activated by the questioner’s physical pres- Tales, Myths and Matter), directed by Johanna ence, it provides abstract answers to concrete Pichlbauer and Isabel Prade. A storybook doc- decision-making queries of all kinds, e.g. “Hey uments explorations of the potential of material Sirius: is it a good idea to buy the postmodern as a narrative tool and of work on materials for tapestry for me via teleshopping?” future legends.

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Latency Now, Telematic Improv Fashion & Technology presents Workshop IN THE LAB — Liquid Objects, Disobedient Materials Theatre of Making #4 The exhibition takes a surprising look at the experimental jacquard fabrics and second-hand sustainable, inclusive and democratic future of clothing that dissolves and reconfigures. An interwoven fabric of senses and data points is knit closely together into a constant flow fashion. IN THE LAB makes innovative processes visible of feedback loops, coalescing outside time, in a world that cherishes the state of NOW. Waiting to be discovered are the inner life of and invites visitors to observe new shapes and virtual bodies, seamless garments made from materials as they grow. The interdisciplinary workshop series Theatre of and key insights generated during these sessions Making (TOM) focuses on real-time audiovisual informed the fourth edition of Theatre of Making: improvisation by exploring how continually evolv- Latency Now — Telematic Improv Workshop, held ing artistic methods, media and processes over- April 29-30 and May 2, 2020, and hosted by Tina lap and are reconfigured to unfold a constant flow Frank and Alex Murray-Leslie at the University of Melanie Nutz of visible, audible, and experiential events. These Art and Design Linz. TOM4 brought together stu- MATERIAL MATTERS cross-media jam sessions engage all senses and dents from the Departments of Interface Culture, abilities, synthesizing processes and outcomes Fashion & Technology and Visual Communication, For her graduation collection, Melanie Nutz (with the latter breathing a second life into shred- into a live, durational, closely-knit total work of and students from Trondheim Academy of Fine deals with fashion and sustainability. During her ded shirts). Deconstruction and a hand weaving art. The work itself will span a range of disci- Art, NTNU (Norwegian University of Science and internship at palmer // harding in London, she model make clothing more durable and future- plines from audio production to image-making, Technology) and a wide range of practicing artists developed an awareness of the global influence proof. performance, visualization, choreography, critical across the globe. the fashion industry has on our environment. As costuming, graphic scoring, drawing, and writing. The video installation Latency Now — part of a result, resource conservation is particularly In response to the onset of the Covid-19 pan- Ars Electronica Festival’s CAMPUS exhibition — important to her while making a collection. For demic in Europe from March 2020, the evolving presents glimpses of the introductory talks, high- MATERIAL MATTERS, she researched three novel group of TOM artists and students embarked on lighting milestone moments from the history of material concepts and methods: “zero waste”, a series of performative audiovisual improv ses- online telematic improvisation and performance, recycling and the upcycling of existing materials sions via teleconferencing software, maxing-out and depicting workshop results. Accompanying the intrinsic functions of existing tools and trans- the installation is a diagrammatic network includ- forming them into fertile ground for co-making ing TOM contributors from the full series. Aaron Alvin Keller and interplay. In this way, participants could recover what so many were missing most at that Theatre of Making #4, Latency Now: online telematic IN_BETWEEN_SPACES time: togetherness, and a sense of communal workshop with participating artists: Jaskaran Anand, endeavor. Hannah Andergassen, Christoph Breineder, Andrea Eiber, The fashion industry is contributing to the envi- a two-dimensional surface into a three-dimen- Drawing from the rich and diverse history of tele- Iris Karl, Valeria Lehner, Alisa Matern, Sophie Morelli, ronmental and social crises on an ever increas- sional garment only by cutting into them. portal performance and internet art-making, the Alexandra Murray-Leslie, Tina Frank, Mari Bastashevski, ing scale. Overproduction, huge transportation Anat Ben-David, Panja Göbel, Wolf-Dieter Grabner, Krõõt expanded group set out to develop a new type of distances and massive labor law violations are Jurak, Diana Lindberg and Thies Mynther with talks con- the result of an endless race for change in fast real-time, procedural artistic research. Distinct tributed by Roger Mills, William Kherbek und Oswald Ber- methodologies were adopted during the sessions, thold; Online, April 29th/30th April and 2nd May, 2020. fashion. This project examines an alternative production method for clothing and tests whole garment weaving as an experimental construc- tion and production method. The basis of the practical method is the creation of multi layered composite fabrics, which are transformed from

316 317 KUNSTUNIVERSITÄT LINZ CAMPUS Tania Pérez-Hernandez INVERT Mr. Kondo ties his trench coat belt. A belt like a strong animal, Evening Lecture with that deforms or strangles him, and pulls his organs to the outside. Pulls them out like a vacuum cleaner, a powerful vacuum cleaner, Lynn Hershman Leeson (US) a black hole in space. A vacuum cleaner in a living creature’s mouth would pull everything outside, all its organs and bones and so the abstract silhouette of the inside becomes visible. For over fifty years, Hershman Leeson’s practice impact of technological developments in soci- mines the intersections of technology and the ety. In this lecture, she will give an overview of With Invert, I am concerned with dissolving our novel shapes. Using software, I can peel off these self. She is known for her groundbreaking contri- her work, particularly related to cyborgs, from ideas of the body and creating new ones. I play new body surfaces and get abstract patterns I butions to media art from Artificial Intelligence 1966’s Breathing Machines, to 2018’s Antibody with different bodies, animal and human, in vir- then transfer to textile surfaces and assemble into to DNA programming, often anticipating the and 2020’s Gravity’s End. tual space, where I let them interact with each three-dimensional wearable objects. In this way, I other. The bodies mix and mingle and result in bring these new bodies back into the analog world. “Imagine a world in which there is a blurring between the soul and the chip, a world in which artificially implanted DNA is genetically bred to create an enlightened and self-replicating intelligent machine, which perhaps uses a Symposium UNCANNY FRIENDS human body as a vehicle for mobility.” Lynn Hershman Leeson (2000) Department of Media Theories (Gloria Meynen), University of Art and Design Linz, The talk will bring together a selection of Hersh- scale project, a multimedia installation based on in collaboration with IFK Vienna (Internationales Forschungszentrum man Leeson’s work in drawing, sculpture, video, a genetics laboratory that explores the effects Kulturwissenschaften) and the Working Group Data and Networks, Gesellschaft and photography, along with interactive and of genetic engineering in society that trace the für Medienwissenschaft net-based works, focusing on themes of trans- ever-intertwined relationship between the tech- mutation, identity construction, and the evolution nological and the corporeal to illuminate the of the cyborg. Roberta (1972 — 79), PhantomLimb political and social consequences of scientific From delinquent to influencer, the profile has had doublings and repetitions: the UNCANNY FRIENDS. (1985 — 88) and Cyborg (1996 — 2006), as well as advances on our most intimate selves and bio- a surprising career. Hardly a day goes by without It is not the androids that seem uncanny to us, Infinity Engine (2014 — present), a recent large- logical lives. a new one. Some want to curate the traces of but the always-on interfaces, the Siris and Alexas their data, to design their digital self like a star who make contact with us, unasked and unnoticed, cut. They are touched all the more eerily when, recording and doubling life until their expiration. through AI, their digital doubles awaken to a sec- They are the Deep Fakes, who can clone us with ond life. Around 1978, a metaphor found its way a few recordings and samples. They are the body into English android research that the roboticist sensors and surveillance systems that treat us like Masahiro Mori had defined in 1970: the “uncanny sleepers and future terrorists. Lectures, readings valley”. Robots that resemble humans too much and performances question the uncanny doubles instill fear and terror. Like us, but never familiar, between humans and machines, face and interface, INTERFACING HAUPTPLATZ they inhabit the “uncanny valley.” But today, the fact and artifact, data and speculation. How can we uncanny valley has almost disappeared. Thanks to describe the modelling, adaptation and optimiza- RFID chips, GPS and a wide variety of body sen- tion of the heterogeneous couplings that create The main location of the University of Art and local and the global here. In this unique location, sors, our bodies and identities have themselves mutual similarity, bonding and familiarity? How are Design Linz are the two monumental “bridge the facade of Hauptplatz 8 turns into a virtual become interfaces, mouse pointers and prosthetic we to thematize, criticize and design the current head buildings” that interface the main square of window that opens to show the world beyond the hands with which algorithms trace and continue forms of AI? What cultures and architectures of Linz with the Danube River. The square is where square. On several evenings during the Ars Elec- to write our profiles. The valley that Mori dug out control are designed by neural networks? How can we find the city’s hustle and bustle, the weekly tronica Festival, after the sun has set, different between the industrial robot and the NÔ-mask media, cultural and social criticism become possi- market and many shops, as well as the mayor’s audiovisual projects are projected onto the media is now levelled. What remains is a suspicion: ble in a largely immersive media landscape? And, seat; it symbolizes the local, physical commu- facade, inviting festival visitors and passers-by to that the ghosts and the undead are not only the assuming algorithms, digital pets and humanoids nity. On the other side of the building, the Dan- enjoy and interact with them from near and far. robots, but ourselves as well. Fifty years after are subjects like us: what image do they form of us? ube presents itself as an ever-flowing, massive And though originally conceived as an installation Mori, the symposium invites us to walk through Similar yet never familiar? Secret, to the point of stream, the place where, historically, goods and planned solely for THE WILD STATE during Ars the “uncanny valley” again. The focus is less on uncanny? What is the uncanny valley of machines, news were received and dispatched. Art is, liter- Electronica, we might see it again in the future. a human or machine resemblance, than on their and what follows from this for our future? ally and figuratively, the connection between the

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DEPART (AT) The Transient Shadows (2020) When DEPART were invited to devise an audio- ­technological developments, like cloud comput- between humans and nature. The crisis revealed cars and any object that moves or stands in the visual artwork for the main square in Linz on the ing. To varying degrees, obelisks have always been we are not the crown of creation, not a separate city. All these artefacts become their resources. occasion of Ars Electronica Festival 2020, they part of DEPART’s artwork, and since the plague and immune entity, and that we cannot keep Through swarming behavior, the artificial ants were immediately inspired by the opportunity column — with its bulbous shapes — resembles a exploiting natural resources unrestrained. The create complex shapes and trails, beautiful and to deal with its 18th century baroque plague column of rising smoke frozen in time, this Anthropocene seems to have come to an end, and eerie at once. In our world and Antopolis, even column. The idea obviously suggested itself by seemed a self-evident way to provide a main we need to reevaluate the position and respon- a minuscule virus or insect has the power and looking at the pandemic situation today, and since aesthetic theme. The audiovisual sculpture is sibilities of humanity. In Antopolis, ants invade potential to profoundly impact and transform the University of the Arts is located quite oppo- oscillating and behaves like a respiratory cycle. the city and look for human ­activities. They crawl human activities, as we are all just a part of one site the column in the so-called “Brückenkopfge- Like a lung, it expands and collapses, forming towards any man-made shape, following­ humans, large but fragile ecosystem. bäude”, DEPART decided to conceive this piece as lithoidal structures that vanish over and over again. a sort of dialogue between both landmarks. The The contradiction of an ephemeral substance that topic of a virus predominantly manifesting itself looks like a heavy solid, and the fluid motion of a as a respiratory disease figures into the piece, seemingly rigid body provide a sort of microdra- SOUND CAMPUS as well as the fugacity of human life and how it maturgy. It serves as a metaphor for the topics is dealt with during plagues or pandemics. At mentioned above, communicating with the actual Examining the State of Electronic Music and the same time, The Transient Shadows echoes the column in the square on structural and symbolic ­history of Linz as an industrial city through modern levels. Sound Practice at Academic Institutions

Sound Campus is a new program oriented towards sound art exhibition — the metaverse. This virtual examining the state of experimental sound prac- exhibition space, modelled as a real-scale Titanic tices at universities and research centers. It struck by a Chopi village of Mozambique, symbol- opens a possibility for students and research- izes the reality shock of our uncertain times. The ers to present new forms of understanding sonic metaverse includes artworks by more than fifty art to the audience of Ars Electronica Festival. artists and musicians affiliated to academic insti- This year’s program, curated by Enrique Tomás, tutions from all continents. Distant audiences can presents uneasy sound performances resonating visit it through the metaverse application. Once in the face of a critical present; intrusive music, a person is connected, it is possible to walk the touching us despite lockdowns. Sound Campus exhibition along the many cabins Sound Campus has firmly decided to connect with of our Titanic model, or listen to all live concerts The Transient Shadows (2020) Antopolis distant audiences by extending its resonant pro- taking place in Linz. All this, with the compan- gram towards the Internet. The pandemic clearly ionship of other visitors. For the selection, Sound Laurent Mignonneau (FR/AT), Christa Sommerer (AT) hit us prior to inventing adequate platforms for Campus published an open call for projects. More Antopolis (2020) hosting online music festivals. Instagram music than 120 artists from every continent submitted concerts were restricted by laptop monitors live performances, musical work or interactive During the COVID-19 crisis, we are reminded of and wildlife returned to the cities, and human and small living room speakers. Indeed, a cer- sound installations. Over forty artworks were the fragility of our ecosystem. A tiny virus was caused pollution is, in many cases, significantly tain “uberization” of online artworks could be selected and curated for this festival. able to bring human activity to a near standstill, reduced. Many people have suddenly realized the observed: a “home delivery” of tele-networked causing the global lockdown of massive industries importance nature has in our physical and mental -and precooked- artistic products. To experi- Curator and text: Enrique Tomás; Project manager: Julia and economies. While we humans are confined to health; short walks in parks or nearby urban for- ment artistically with the Internet as a medium del Río; Metaverse design and programming: Daniel Romero; Sound system: Das Wiener Akusmonium, by The our homes, other parts of nature recover and even ests are essential to keep sane in times of quar- for hosting music festivals, Sound Campus invited Acousmatic Project Wien; Technical and administrative thrive. The air in heavily industrialized regions has antine. The interactive media facade Antopolis sound artist Daniel Romero (aka “.tape.”) to cre- support: University of Art and Design Linz/CAMPUS team become cleaner, the sky more blue; insects, birds wants to remind us of the interconnectedness ate a social and public virtual environment for (Julia Nüßlein, Davide Bevilacqua, Sylvia Leitner).

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Sound Campus Nightline — Metaverse: Interactive Music Programme Live Performance Program We present here eight artworks exploring new Steiner). Media archeology cabinets decomposing Kunstuniversität Linz — Hauptplatz 6 forms of engagement between people and digital the famous vocoder (Ivan Petkov), conceptual Thursday, 10.9. Friday, 11.9. media for problem-solving in the physical world. alternatives to present soundart in VR environ- From experiences showcasing socio-cultural ments (Oliver Lehner; Alex Hofmann) as well as _ Alex de las Heras (ES/CO) feat. Paul Peters _ Alex de las Heras (ES/CO) feat. Paul Peters diversity from African communities (Timbila Live sonic escape rooms (Ritter and Aska) or virtual (Gula Gula): Fantasy Island (Gula Gula): Fantasy Island Aid) to surreal architectures formed from analysis soundwalks (Munarriz; Kumenko, Guedes and _ A Certain Trio (PL/DE) _ Paul Gründorfer (AT) of the unstable real estate market of Berlin (Malte Schroeder). _ Christoph Punzmann (AT) _ Thomas Gorbach (AT): FlashRust _ Duo 3-Kanal (Katharina Klement, Martina _ Thomas Grill (AT), Till Bovermann (DE), Claussen) (AT) Kathrin Hunze (DE): merge and dissolve _ Timbila Live Aid (Ricardo Climent, Manusamo an Bzika, Miquel Bernat, Matchume _ Brane Zorman (SI): Reclaiming Time — _ AWNJS All Women’s Networked Jam Session: Zango, Alena Mesarosova, Manu Ferrer, Drumming-GP, George van Dam, ElektroMagnetikSpektrum A distributed location performance (2020) Polo Vallejo and Jean-Luc Fafchamps) (UK,MZ): Play or Burst _ Ivan Petkov (BG/AT): Vocal recomposer Saturday, 12.9. _ Oliver Lehner (AT): Untitled 2020 _ Michael Mayr (AT): TechnoGAN _ Malte Steiner (DE): The Chants Of Real Estate Data _ Trial#1 (AT) _ Leonid Kuzmenko, Carlos Guedes, Franziska Schroeder (UAE/UK): Mirage _ PYUK edp. (AT): DJ3XXICA + Shinsekai _ Alex Hofmann (AT): Study for Saxophonist Avatar and two Loudspeakers in a VR environment _ Martin Ritter and Alyssa Aska (DE): Virtual Escape Room _ Jaime Munarriz (ES): La Cupole Soundgarden / Klanggarten Kuppel

Metaverse: Metaversal Multichannel Works

VR as a creative midst for spatial audio experiments. With this gallery of multichannel works we want to evaluate the experience of listening to spatial electroacoustic music when it is embodied in a VR social event at a large scale festival.

_ Jaime Reis (PT, Escola Superior de Música de _ Panayiotis Kokoras (US, University of Lisboa): Fluxus, pas trop haut dans le ciel — 16 North Texas): Qualia — 8 channels channels in a dome distribution _ Kosmas Giannoutakis (GR, ZKM): _ Gryvul (UA, Lviv National Music Academy): Bursty Exorbitance — 8 channels Taxidermia — 8 channels _ NOCTVRNAL — Helena McGill and Anna _ Michael Hutsteiner (AT, Anton Bruckner Priva- Wozniewicz (US, Chapman University): tuniversität): The Petrified Horde — dolby 7.1.4 DreamFREQ — 9 virtual speakers Surround _ Juan Carlos Vasquez (US, University of _ Theodoros Lotis (GR, Ionian University): Virginia): A Landscape of Events — 8 channels Portrait d’une manifestante — 8 channels _ Paulo Assis Barbosa (BR, University of São Paulo): Simulacrum — 8 channels

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Metaverse: Acoustic Realities meet the Metaverse Meter machen

Musical works created for acoustic territories arriving in the virtual deck of the metaverse. This pavilion is conceived as a large group of boat cabins featuring compositions created at diverse latitudes of our real world. Department of Art Education/

_ Patricia Martinez (AR, Universidad Nacional _ Ida Hiršenfelder a.k.a. Beepblip (SI, Cona Bildnerische Erziehung de Quilmes): Conciencia pura de invención Institute, Kamizdat label): Interactions Maria Anna Eckerstorfer (AT), Sabine Touzimsky-Köstler (AT), (Pure Consciousness Invention) _ Massimo Vito Avantaggiato (IT, Conservatorio Lisa Wieder (AT), Wolfgang Schreibelmayr (AT) _ Vlad Chlek (NL, Fontys School of the Arts): Svizzera Italiana): A Nazaire [fMRI/extrapolation] — audio and video _ RGBastler / Florine Mougel and Andreea _ Luc Messinezis (GR, Ionian University): Vladut (AT, University of Art Linz): Derapage What do a cow, four dancing penguins, the rock is 1 meter long, in America 6 feet (approx. 1.8 Procession of the Simulacra. A journey dans la ville musician Bruce Springsteen and a baby elephant meters) and in Latvia even 2 meters. through sonic hyperreality in four movements. _ Martín Amodeo (AR, Universidad Nacional have in common? They are all supposed to help _ Louise Harris (UK, University of Glasgow): del Sur): Lima 2 November us keep our distance from each other. In some Keeping a distance is a very important rule. But as Alocas _ Gintas Kraptavičius / Indra Kraptavičiūtė (LT, countries we speak of social distancing here. This we humans are, situations arise that are hilarious, _ Irradiation (Patricia Enigl) (AT, IEM Graz): Lithuanian Composer Union): Digital Vintage actually means that we should have no contact super funny or totally confusing. At this year’s Ars Sounding Space Junk at all. So we should not talk to each other or be Electronica Festival we want to collect exactly friends. The Australians use a more correct term such scenes. Send us a self-produced photo or a here: physical distancing. That means to keep very short text about your experience by mail and only physical or spatial distance. But this dis- follow us on Instagram on @kunstuni.linz.meter- tance is not the same everywhere. In Austria it machen. So until then — let the penguins dance!

Metaverse: BFA & MFA students from Trondheim Academy of Fine Art (KiT), NTNU, Norwegian University of Science and Technology

The KiT Pavilion cuts across disciplines, histories, identities, and futurities explor- ing the ways in which codes of economic and cultural normativities are reified, enforced, and performed, and the lived consequences of such power dynamics are experienced and transcended. Curated by Alexandra Murray-Leslie.

_ Einar Grinde: The Rules _ Tuva Holm Nymo: Translated Guinea Pigs _ Stewart Home, Thies Mynther and Mikalsen & _ Tuda Muda: Breaking of the loop in flesh Marhaug: Even Masts Must Burn _ Qianhui Qian: Viral Viral and In abyss we live _ Mikalsen & Marhaug: Viral in the virus _ Naomi Chan: Circle 29.04.2020 _ Markus Neergaard: ‘C’ _ Michelle Rassmussen and Anat Ben David: _ Máté Labus: ZimmeZum Too cool for Corona

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Stadtwerkstatt (AT) Franz Xaver — Infolab (AT) STWST48x6 MORE LESS The Third Nature 48 Hours Take Less Want More Complex Information stwst48x6.stwst.at Complex Information & Interference of the always a challenge to transfer unknown informa- Unknown: Franz Xaver operates the Infolab of tion into real, i.e. “logically correct,” information. With STWST48x6 MORE LESS, the 6th edition New Art Contexts: INFOLAB and the SATELLITE the municipal utility, expanding the concept of As an example, interference patterns which Franz of Stadtwerkstatt’s 48-hour showcase extrava- El’Hail by Franz Xaver, MEIN HIRN GEFRIERT by information to include The Third Nature. Xaver repeatedly rediscovered mathematically ganza, Stadtwerkstatt asks the relevant ques- Tanja Brandmayr, NEW ISOLATIONISMS by taro, The Third Nature is about approaching complex and artistically in the course of 30 years are men- tions about the more-or-less situations, the Michael Aschauer with alternative chat platforms information as one would complex numbers, tioned and shown. The aim is to define what part non-equality areas, the counter-validity zones and GIBLING MONEY by O.S. Fresh out of con- which consist of real and imaginary parts. It is of this information is real. https://i.stwst.at and the non-zero-sum games of the future. In finement with the virus among us, we present the middle of a new nothing we build up a scen- MAKE BREAD. EAT PICKLE., a Kitchen Social Act ery between More and Less to distribute critical with hyperinformed dough and ever-fermenting contents, artists and critical producers to nego- pickles. This community conversation piece will tiate conditions that make a difference. We take be initiated by Shu Lea Cheang. a look at the zones of art, nature, information, All in all, STWST48x6 MORE LESS will be com- Franz Xaver — Infolab (AT) movement and sound to focus primarily on other pleted with an eager AUDIENCE, distanced networks, aesthetic strategies, autonomous pol- NATURES, deeper LAYERS, uncharted EXCUR- El’Hail satellite icies and alternative metabolites that are driven SIONS and more to come at New Independent Information Channels by alternatives –and, beyond more and less, by STWST CREW: Curators: Shu Lea Cheang, Tanja Brand- the OTHER. This project sees itself in terms of independence on 06.01.2016 http://bildsend.ung.at/. New sig- mayr, Franz Xaver +++ Production: Tanja Brandmayr, STWST48x6 MORE LESS means to take less and Jakob Breitwieser, Shu Lea Cheang, Claus Harringer, of information and information channels. With nals are now being sent across the globe via the want more. We distribute 48 hours of sound Andreas Heißl, Jan-Nahuel Jenny, Jörg Parnreiter, taro, the amateur radio satellite QO 100, it is possi- QO 100 satellite with the callsign OE5FXC. Via and art cathedrals of less, nature monotony and martina schönbauer, Felix Vierlinger, Franz Xaver, more ble to make narrow band transmissions. This is the SDR web interface, these broadcasts can be tba +++ Documentation Videos: Claudia Dworschak +++ streams of isolationism, emptiness from different referenced by the SSTV project (Slow Scan TV) received by anyone. An example: https://eshail. Setup Homepage: Michael Aschauer +++ Design/AD: places and the deep Anthropocene. We liquidate ortnerschinko.com 7067.stwst.at, and Arts-Birthday Bob Adrian X batc.org.uk/nb/ contents into high potency projects and transmit Stadtwerkstatt: Linz/Austria them to empty satellite skies. In 2020, STWST 48x6 MORE LESS hosts the spaces in between https://stwst.at social distance and distributes its venues in the STWST48x6.STWST.AT northern and southern parts of the city. STWST48x6 MORE LESS invites the following artists and collec- tives through open calls: Annie Abrahams, Fem_Arc, math- r&netz, Nicolas Montgermont & Pali Meursault, Jenny Pickett & Julien Ottavi, Bioni Samp, Saša Spačal, Silk, as well as STWST’s artist asscoiates Freudinnen der Kunst, Christoph Ebli Ebner alias Apephonie Produktion and Julian Stadon. STWST48x6 MORE LESS also presents the projects of STWST

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A STWST project initiated by Shu Lea Cheang (US) Tanja Brandmayr — Quasikunst (AT) MAKE BREAD. EAT PICKLE. My Brain Freezes at Minus 273 Degrees High Potency Project MAKE BREAD. EAT PICKLE., a Kitchen Social Act — to make a giant sourdough starter and bake with hyperinformed dough and ever-ferment- breads by inviting people to bring their own, My Brain Freezes at Minus 273 Degrees is a body, They are symbolically diluted and shaken to the ing pickles, is conceived to make and eat food homegrown starters to mix in. EAT PICKLE sources context and high potency project. It begins by point of nothingness as artistic high-potency together while engaging in conversations on fresh vegetables from local farms for fermenta- talking about the body and continues with think- projects. At every dizzying border, however, they strategies for food production and distribution. tion and preserving. The pickled vegetables are ing about the contradictions at the boundaries of insist on a classical function of art by allowing As we emerge from state-imposed confinement, reserves for the future, as we speculate on hard science. “My Brain” deals with physical mecha- the unspeakable, the indirect, the irrational, the we are left with no “normal” to get back to and times and happy hours. Set up by the Donau river nisms that are difficult, start in a reduced way and hidden and the actually “other” to take effect. no “new normal” to step into. During the confine- bank in an open air setting, we gather Linz citi- become effective upon unexplained contact with The body as media high potency project at your ment period, #quarantinebaking was trending zens and visitors to make and share freshly baked “consciousness.” Practical setting and reflec- own risk: my brain freezes at minus 273 degrees. and local small farms rose to the occasion by dis- loaves of sourdough bread and seasonal pickles tion are accompanied by LESS physical activity: patching seeds and organizing food trucks. From through the 48 hours of STWST48x6. What are breathing and imagination? What does farm to table, we need to review and redesign Let the dialogues begin! Long live Mother Yeast. an economy of movement mean? What is reduc- the global food supply and distribution systems. Pickle the Future. tion? LITTLE IS JUSTIFIED WITH MUCH. This is MAKE BREAD is an act of “cultural manipulation” continued by reduction on the physical level of metabolism. It is about fasting and autophagy. With this autonomous, self-acting mechanism of “self-eating” that has been genetically stored in our cells for hundreds of thousands of years, other self-healing cell processes are triggered. Moreover, the body paradox of the less available is reflected far below zero in a controversial quan- tum theory of consciousness according to which quantum effects occur in the microtubules of the brain to generate consciousness (although quan- tum effects -as in, for example, quantum comput- ers- are said to be possible only around minus 273 degrees, according to current research.) All these approaches lead artistic practice towards complete dissolution.

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Stadtwerkstatt (AT) STWST Excursions Measuring Ship Eleonore and Archive/Art Storage North

As part of STWST48x6 MORE LESS, Stadtwerkstatt offers two guided excursions. One is to the measuring ship Eleonore, which anchors in the south of Linz in the Traun River. For more than ten years, STWST has been operating the Eleonore as an art ship and autonomous location on the periph- ery, as a research laboratory on the water, and as an isolation island and sink tank for artists and critical producers. The energy self-sufficient ship, on which residencies with art, information and water as refer- ence take place, will be presented. The second excursion leads to Kunstlager Nord, north of Linz. Here, Stadtwerkstatt collects art relics and documents from the 40-year history of the house — between media art, subculture and city history. Stadtwerkstatt was founded in 1979 and was regis- tered as an association in 1980. Not least because it has just celebrated its 40th anniversary, the archive and materials in Kunstlager Nord have been newly examined and prepared for several years. The Kunst­ lager Nord will be open for a few hours during this excursion.

Stadtwerkstatt / OrtnerSchinko (AT) The New Gibling Community Currency and Currency Art

New Gibling, black on black: The new Gibling Also, the new art investment of the Ortner- from OrtnerSchinko -a dark community currency Schinko-Edition can be purchased with a 1, 2, 5 in times of digitalized cash flows, black money, and 500 Gibling note per art edition: an insider gold rush and global economic crisis, all in one- tip for timeless art currency speculation at € 500. has been valid since 15 June 2020. This year’s community currency will also be presented during STWST48x6 MORE LESS at Stadtwerkstatt. On More information about the Gibling: this occasion it can be exchanged in 1, 2 and 5 punkaustria.at Gibling notes at Punkaustria and Gibling-Pun- gibling.stwst.at komat, in small and large amounts. ortnerschinko.com

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Die geile Hydra & Raumteiler Kulturverein (AT) Christa Sommerer (AT), Laurent Mignonneau (FR/AT) Holy Hydra 3.0 hosted by ARS ELECTRONICA Presentation of the interactive project Homo Insectus, I am the Hydra. The multi-headed creature from and the local art scene. The content examines in cooperation with Bildrecht Linz, who fights day and night for the free scene an extended use and a possible redefinition of and is always looking for unused spaces, unique sacred spaces. My aim is to create a discourse Insects are an essential element of the biosphere. room concepts and new possibilities. I act out of between club culture, religion and society. However, due to pollution and the widespread an inner necessity for culturally diverse events, use of chemicals, many insect species have died always focusing on the spatial Plus X and driven out in recent years. Every insect species plays an by the approval of my audience. Idea & Production: Die geile Hydra important function in the ecosystem: they are pol- The Holy Hydra is an interdisciplinary event in Production team: Raumteiler Linz (AT) linators, composting machines, or food sources the parish church Urfahr — Jugendkirche Grüner Visual Concept: 4youreye — ProjectionArt (AT) for other animals. As industrialization and human Anker, which is taking place for the third time The project is supported by Grüner Anker — Jugendkirche der Diözese Linz und Kirche am Fluss — Stadtpfarrkirche intervention have put their world in danger, we all this year and includes contemporary dance Urfahr, Posthof — Zeitkultur am Hafen, AFO — Architektur- need to become more aware of our impact on the performances, electronic music and new media forum Oberösterreich, Höf15, Forum St. Severin, insect kingdom. Homo Insectus is an interactive art. This year my event focuses on local artists Makava Delighted Icetea, Intersport Pachleitner installation that emphasizes human contribution to the insect world and promotes a positive atti- tude towards these creatures. Participants in the installation can see their own bodies transformed into a habitat for artificial ants. They propagate and organize themselves into colonies and formations as long as the par- ticipant accepts a sensitive dialogue with the arti- ficial creature’s world.

Bildraum 07, Burggasse 7—9, Vienna 1070 Tue-Fri: 13—18 pm +43 1 815 26 91- 21 A cooperation of Bildrecht and

© Fabian Erblehner © Fabian Ars Electronica Festival 2020

Homo Insectus, Christa Sommerer and Laurent Mignonneau © Fabian Erblehner & tectool visuals Erblehner & tectool © Fabian Erblehner © Fabian

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BIO AUSTRIA (AT) OÖ Landes-Kultur GmbH (AT) BIO AUSTRIA Farmers’ Market: OK Night 2020, OÖ Kulturquartier

Organic quality you can taste As an already traditional nightline format, the OK Night in the OÖ Kulturquartier will present perfor- Organic farmers from BIO AUSTRIA have always regional, and safe products simply taste better. mative contributions from the Prix Ars Electronica placed environmental concerns at the forefront On September 12, the organic farmers of BIO on Saturday. Likewise, the OK Night is a platform of their work. They avoid chemical and synthetic AUSTRIA will present their superb regional for regional and international club culture and a pesticides and fertilizers to promote healthy products at Kepler’s Gardens. Festival visitors program focus within the OÖ Kulturquartier that soils, favoring locally appropriate varieties and can sample the delicious wares and chat with the in recent years has also demonstrated its innova- breeds, fertilizers and feed right from the farm or producers of the organic goods. The BIO AUSTRIA tive stage and room design. Like vast portions of from the region, and animal welfare. Not only is Farmers’ Market also provides information about international nightlife, this year’s OK Night will be this good for the environment and the climate, it organic agriculture and the contributions organic relocated to virtual space, with a reduced music also results in the highest possible food quality. farmers make to protecting the climate and the program. © vog.photo BIO AUSTRIA farms demonstrate that organic, environment.

presented by Sparkasse OÖ and LINZ AG BIO Austria Shop: you’re only a click away from organic products direct from regional BIO producers! Sounding Linz — KLANGWOLKE 2020

The BIO AUSTRIA online shop is the only nation- wide web shop for organic products operated by Experience creative talent from the region, great organizer LIVA with the adapted conception and the farmers themselves. A growing number of BIO artistry, and a high level of engagement with staging, see a great opportunity in this ”alterna- AUSTRIA businesses also offer shipping service people in Upper Austria: the Brucknerhaus Linz, tive” Klangwolke. They see this as a chance to for their products, so these high-quality goods together with local artists and its partners Uni- return to its origins. can be enjoyed wherever you are! versity of Art and Industrial Design Linz and Ars Inhabitants of Linz are invited to (re-)hear their Electronica, is creating something unique for city and their living space, because: Linz is the https://shop.bio-austria.at/ extraordinary times: a declaration of love for Linz. star of Klangwolke 2020! Will Corona already be over? Nobody knows. BIO AUSTRIA is the network for Austrian organic Given this situation, the health of the audience farmers. As Europe’s largest association of is our top priority and the idea of the Klange- organic farmers, BIO AUSTRIA represents the wolke in its usual XXL format is out of the ques- interests of Austria’s organic agriculture and tion this year. Nevertheless, the organizers are its farmers — with 13,500 members and over determined to take up the challenge of creating 400 business partners in the economic sector. a Klangwolke that can be realized even under the More information is available (in German) at current circumstances by dealing creatively with www.bio-austria.at. these unusual conditions. Four renowned sound researchers — Peter September 12, 2020 Androsch, Sam Auinger, Wolfgang ”Fadi” 10 AM — 3 PM

Dorninger and Gitti Vasicek — entrusted by the © Carina Nimmervoll KuenstlTeam, VisKlangwolke2020, Organic Farmers’ Market

BIO AUSTRIA, Upper Austria Faber © David

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Crossing Europe, VALIE EXPORT Center Feminism and Media Avant-Garde. Essay Tribute to VALIE EXPORT Brigitta Burger-Utzer | sixpackfilm

This year, CROSSING EUROPE will dedicate its installations, conceptual photography, drawings, EXPORT quite intentionally uses a lot of clichés first she soberly demonstrates the hedonistic rit- Tribute section to one of the most important sculptures, texts, performances, films, and vid- in Human Females (1979) to portray the relation- ual of masturbation, then, under the grotesque representatives of international media, film, and eos. Central to her oeuvre is the moving image, ships of four women with each other and with sounds of male grunting, she turns the attention performance art: VALIE EXPORT. She was born in the form of original cinematic works or incor- one man. From a web of relations that satisfies to the sperm and blood covered vagina. This in Linz in 1940, where she also grew up. On the porated into installations. Within the realm of no one grows utopian freedom for some and the raises the question whether, contrary to popular occasion of her 80th birthday, and on the initia- film and video art, she captivates with a range abyss for the others. One way or the other, the claims, the animal unites man and woman instead tive of the VALIE EXPORT Centre Linz in cooper- of modes all of which are featured in this Tribute protagonists in EXPORT’s feature films are never of separating them. The media-reflexive perfor- ation with CROSSING EUROPE and sixpackfilm, a program. ordinary heroines but complex female characters mances by VALIE EXPORT, such as Visual Text: comprehensive program of VALIE EXPORT’s films VALIE EXPORT’s three feature films bring together with demons, expectations, and suffering. Finger Poem (1968/73), Breath Text: Love Poem and videos will be shown for the first time in her ideas and art objects for a narrative cinema that In the relatively short period that saw Expanded (1970/73), and Body Tape (1970), and later on place of birth at this year’s edition of CROSSING she had already put to the test in her artistic prac- Cinema being pushed forward in its deconstruc- the voice as performance, act and body (2007) EUROPE. tice: “The narrative facilitates the conveying of tion of the cinematic dispositif in Austria and in are examples of her decadeslong examination of The tribute presents a selection of short and fea- subjects and content.”1 In Invisible Adversaries numerous presentations by the artists at home language as a form of communication and of the ture-length films from over forty years of being (1976), photographer Anna doubts the reality of and abroad, VALIE EXPORT (frequently together subject’s voice as part of an identity that is hard active as an artist. This includes experimen- her experiences. She can no longer assess if the with Peter Weibel) was front and center. Many of to constitute. At the end of the 1960s, Austrian tal studies, world-famous performance works, cause is her altered perception or the change of her performances were not recorded and today television opened itself up for contemporary art feminist media critiques, and Expanded Cinema the people and of the objective world around her. only exist as concepts with theoretical back- with programs like “Impulse” and, later, “Kunst- actions, ranging from 8mm film to large scale Sometimes this destabilized woman is described grounds or photographs. On Adjunct Dislocations stücke”, where many media artists presented or image formats, the first video systems to med- as schizophrenic, but perhaps she may also be (1973), VALIE EXPORT wrote: “not only is some- for which they even designed works of their own. ical image investigations: conceptualized for the seeking her very own identity. EXPORT addresses thing shown, showing itself is shown, not only is VALIE EXPORT was on board from the start, cre- cinema hall, the exhibition space, or the televi- in many of her works that this quest is doomed something portrayed, portrayal itself is portrayed. ating not only socially and media critical works sion. In the framework of the festival the follow- to failure or successful only with a sacrifice: a sense of space is created in a way possible only but also educational programs on experimental ing feature-length and experimental films will “because man has defined the image of woman with film: seeing oneself from the front and back film and action art plus four documentaries. Das be shown on the silver screen, in attendance of for both man and woman, men create and con- simultaneously, from above and below, and from bewaffnete Auge. VALIE EXPORT im Dialog mit VALIE EXPORT, who will also give a Tribute-Talk. trol the social and communication media such outside in the center of the space.”3 der Filmavantgarde (1984) is a three-part over- There is no doubt that VALIE EXPORT is one as science and art, word and image, fashion and The first performance of the TAPP und TAST- view of the major movements from the 1920s up of Austria’s most versatile and internationally architecture, social transportation and division KINO was in Vienna in 1968, after that in many until performance works by Yvonne Rainer, a sis- renowned artists, whose impact and influence of labor, (…) if reality is a social construction and locations in Germany and the Netherlands. The ter artist in spirit. continue to persist. The reason being that her men its engineers, we are dealing with a male only remaining recording is from an action in 1 In der Erweiterung liegt die Möglichkeit zur Veränderung. 2 oeuvre is marked by the development of a rad- reality.” Munich in 1969 that was done especially for the Gespräch mit VALIE EXPORT. Von Brigitta Burger-Utzer ical actionist feminism on the one hand and by The Practice of Love (1984) also sees a woman TV program “Apropos Film”: Peter Weibel is on und Sylvia Szely [Expansion holds the possibility of an avant-garde approach towards new media trying and failing to establish herself in a male the megaphone, inviting people to visit the box/ change. Conversation with VALIE EXPORT. By Brigitta Burger-Utzer and Sylvia Szely]. In “EXPORT LEXIKON. technology on the other. In her choice of artistic working world. This thriller about a socially crit- cinema installed over EXPORT’s breasts and giv- Chronologie der bewegten Bilder bei VALIE EXPORT”, materials, in particular the (own) body, she is in ical journalist who uncovers corruption in busi- ing political speeches. ed. by Sylvia Szely (Vienna, Sonderzahl 2007). line with Marina Abramovic, Carolee Schneemann ness and politics also illustrates a fundamental VALIE EXPORT’s criticism of representation which 2 VALIE EXPORT. Woman’s Art. A Manifesto, in “Neues or Joan Jonas, yet she may be unique as regards discrepancy: the combination of female sexuality is feminist in nature had to lead to an enhance- Forum”, 1972, trans. Resina Haslinger, in which only her versatility of artistic expression. and heterosexual eroticism (the main character ment of Expanded Cinema, to the use of the/her women participated. 3 VALIE EXPORT: Adjungierte Dislokationen, concept Her unwavering interest in cultural represen- has two lovers) with an intellectual mind leads body as artistic material in body actions, later (page 2). In “EXPORT LEXIKON. Chronologie der tations of the female body is articulated in a to energy-consuming conflicts and bitter disap- called performances. In Man & Woman & Animal bewegten Bilder bei VALIE EXPORT”, ed. by Sylvia Szely multimedia practice and theory that includes pointment. she gives a performance made especially for film: (Wien, Sonderzahl 2007).

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VALIE EXPORT Programm

A native of Linz born in 1940, in 1967 she invented ice Biennale. In 1985 EXPORT’s feature film The FEATURE FILMS VALIE EXPORT her stage name VALIE EXPORT as an artistic con- Practice of Love was shown in competition at the cept and logo, with the stipulation that it should Berlin International Film Festival. 1. UNSICHTBARE GEGNER / INVISIBLE ADVERSARIES VALIE EXPORT, AT 1976, 110 min only be written in capital letters. EXPORT is a pio- From 1975 her work has included curatorial proj- Dancing a forlorn quickstep along the interface between dreams and waking, Anna surfaces neer of avant-garde and experimental film and ects, international symposia, exhibitions and film to that sinister sound of white noise on the radio informing her that aliens, or at least Invisible one of the most renowned international media programs. EXPORT is co-founder of the Austrian Adversaries, have invaded human beings. Noticeably blasé about this looming revelation, she artists. She rose to fame as a protagonist of Filmmakers Cooperative and has held numer- seems to regard it as yet more evidence of the way that modern life disfigures its artists, men Expanded Cinema in the late 1960s, and some ous teaching assignments at home and abroad. dump on women, the police hit you on the head, and Kreisky’s Austria represses everyone. early works are linked to Viennese actionism. Significant work blocks of hers can be found (TimeOut London) In 1977 (and again in 2007) she participated in in the collections of important museums, from documenta in Kassel, in 1980 she, together with Centre Pompidou to Tate Modern to MOMA. 2. MENSCHENFRAUEN / HUMAN FEMALES VALIE EXPORT, AT 1979, 116 min Maria Lassnig, represented Austria at the Ven- VALIE EXPORT lives and works in Vienna. In Human Females, EXPORT ad- dresses the sociopsychological conditions of women and the clash of changing gender identities in contemporary society through the story of journalist Franz S., who is dating four women at once, following a tightly clocked schedule. Little by little the women catch wind of Franz’s game. (MoMA) “VALIE EXPORT achieves in Human Females what Godard strove for but failed in his Every Man for Himself — a human view of a woman’s place in a man’s world.” (Seattle Film Festival)

3. DIE PRAXIS DER LIEBE / THE PRACTICE OF LOVE VALIE EXPORT, AT/DE 1984, 90 min VALIE EXPORT’s third feature is an anti-romance in which the heroine, between two relation- ships, gradually discovers that both are impossible, not because the subjective processes of “love” are defective, but because the social matrix in which both her male lovers operate is corrupt: in this film, the male world and its power structures cancel the possibility of love beyond the matter of sexuality. Export makes use of techniques drawn from her earlier experimental cinema, video and conceptual photography to expand the possibilities of nar- rative feature filmmaking. (Gary Indiana)

4. DAS BEWAFFNETE AUGE — VALIE EXPORT IM DIALOG MIT DER FILMAVANTGARDE Zoltan Pataky, AT 1984, 135 min + IM DIALOG David Wittinghofer, AT 2020, 12 min In her three-part series VALIE EXPORT takes a look at the themes of “staged space — staged time”, “real movement — movable reality”, and “structural film”. Using numerous examples from films by, among others, Wojciech Bruszewski, Sergey Eisenstein, Maya Deren, Kurt Kren, Yvonne Rainer, Alfred Hitchcock, Linda Christanell and Marc Adrian, narrative and non-nar- rative forms of story-telling are examined and compared. The advanced level of this film is also indicated by the numerous quotes from Christian Metz, Charles S. Peirce, Vsevolod I. Pudovkin and Ferdinand de Saussure. (Dietmar Schwärzler, sixpackfilm) © Violette Wakolbinger

340 341 GUEST PROJECTS Filmstills > FEATURE FILMS VALIE EXPORT

SHORTS VALIE EXPORT

1. VALIE EXPORT — Shorts 1 (60 min) _ SELBSTPORTRAIT MIT KOPF / SELF-PORTRAIT WITH HEAD VALIE EXPORT, AT 1966/67, Menschenfrauen, © sixpackfilm © sixpackfilm Gegner, Unsichtbare 4 min ...REMOTE…REMOTE… VALIE EXPORT, AT 1973, 10 min _ HAUCHTEXT: LIEBESGEDICHT / BREATH TEXT: LOVE POEM VALIE EXPORT, AT 1970 — 1973, 2 min _ BODY TAPE VALIE EXPORT, AT 1970, 4 min _ HYPERBULIE VALIE EXPORT, AT 1973, 7 min _ BODY POLITICS VALIE EXPORT, AT 1974, 3 min _ ASEMIE — DIE UNFÄHIGKEIT, SICH DURCH MIENENSPIEL AUSDRÜCKEN ZU KÖNNEN / ASEMIE OR THE INABILITY TO EXPRESS ONESELF THROUGH FACIAL EXPRESSIONS VALIE EXPORT, AT 1973, 7 min _ THE VOICE AS PERFORMANCE, ACT AND BODY VALIE EXPORT, AT 2007, 11 min _ SEHTEXT: FINGERGEDICHT / VISUAL TEXT: FINGER POEM VALIE EXPORT, AT 1973, 2 min _ MANN & FRAU & ANIMAL / MAN & WOMAN & ANIMAL VALIE EXPORT, AT 1970-73, 8 min Das bewaffnete Auge , © sixpackfilm Auge Das bewaffnete © sixpackfilm der Lieber, Die Praxis _ TAPP UND TASTKINO VALIE EXPORT, AT 1968, 2 min Filmstills > SHORTS VALIE EXPORT 2. VALIE EXPORT — Shorts 2 (65 min) _ GEDICHTE / POEMS VALIE EXPORT, AT 1966 — 1980, 8 min _ ADJUNGIERTE DISLOKATIONEN / ADJUNCT DISLOCATIONS VALIE EXPORT, AT 1973, 10 min _ FACING A FAMILY VALIE EXPORT, AT 1971, 5 min _ I TURN OVER THE PICTURES OF MY VOICE IN MY HEAD VALIE EXPORT, AT 2009, 12 min _ EIN PERFEKTES PAAR ODER DIE UNZUCHT WECHSELT IHRE HAUT / LUST VALIE EXPORT, AT 1986, 12 min _ SYNTAGMA VALIE EXPORT, AT 1983 © Brigitta Burger-Utzer | sixpackfilm Burger-Utzer © Brigitta Hyperbulie, Selbstportrait mit Kopf mit Kopf Selbstportrait | sixpackfilm Burger-Utzer © Brigitta FacingAFamily, FacingAFamily, | sixpackfilm Burger-Utzer © Brigitta AdjungierteDislokationen, AdjungierteDislokationen, | sixpackfilm Burger-Utzer © Brigitta

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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

The following part gives a brief overview of these activities since last year. HEADLINE / Subline

ARS ELECTRONICA CENTER © Ars Electronica / Martin© Ars Electronica Hieslmair

Compass — Navigating the Future The comprehensive thematic redesign of the Ars Electronica Center in May 2019 ushered in the next chapter of its history: “Compass — Navigating the Future” is now the guiding principle, aspiration, and invitation of the new Center. To look into the future, a telescope is enough; While acting as a telescope to give us a glimpse of the future, the new Ars Electronica Center is above all a compass and companion to guide us through the human-created systems of the 21st century. to move around in it, you need a compass. The new themes range from Artificial Intelligence and neurobionics, autonomous systems and robot- ics, and genetic engineering and biotechnology to the far-reaching global changes of our time. The focus is always on the question of what significance these exciting, challenging, and often disturbing developments have for all of us. 346 347 ARS ELECTRONICA / Ars Electronica Center

Current Exhibitions

Human, machine, nature, technology Understanding Artificial Intelligence

Humanity and its relationship to machines are or intelligence, can be recognized. In medicine, Artificial Intelligence versus natural intelli- be overestimated. Our goal with the exhibition the focus of the new exhibitions. Artificial Intel- it is already helping to recognize diseases from gence — what are the differences and what do Understanding Artificial Intelligence is to make ligence versus natural intelligence: how do they huge pools of data better and faster than humans they have in common? How do machines “think,” our visitors “AI savvy” and give them all a basic differ and what do they have in common? How do can; in autonomous mobility, it can navigate how do they learn, and what distinguishes us idea of what Artificial Intelligence is, how it is machines “think,” how do they learn, and what vehicles; it is discovering new planets in space humans from machines? already being applied, and what it can already do. distinguishes us humans from machines? Many and new cell forms in the brain. But the human Artificial Intelligence in all its complexity is a The exhibition shows how neural networks are machine-learning processes are inspired by bio- brain is still much more complex than its machine central focus of the new Ars Electronica Center; constructed and even offers visitors an oppor- logical processes; a few are even modeled cell for counterparts. We are much better at processing after all, this technology is setting off a revolu- tunity to train them at a number of interactive cell on organic nervous systems. Artificial Intel- numerous impressions simultaneously and above tion that will affect our lives in ways that can-not stations. ligence has reached the point where objects and all at assigning meaning, memories, and interpre- faces, and allegedly even traits such as attitudes tations to our observations. © vog.photo

Digital planet and global society

Through our technological developments, we Our modern world offers us an incredible range of have created a “digital planet” that is closely possibilities as humans and individuals to shape linked with the real planet. Our technology has our present and future. In both little things and developed into an indispensable constant of big ones, each of us has a responsibility to decide social life in the digital networking of billions how we navigate through our life and which paths of people. The societal, cultural, and political we want to forge together for securing the future. effects of this personalized networking extend far Direct intervention is not always possible, but we beyond economic changes. Our technological and can at least demonstrate our self-determination economic progress is consequently also threat- by forming our own opinion and standing up for it. ening our living environment — the Earth itself.

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Neuro-Bionics

The findings of the neurosciences have long been cial Intelligence: replicas of biological nervous an inspiration for Artificial Intelligence research, systems generally learn much faster and more and many models of machine learning are vaguely efficiently than traditional models of machine derived from human physiology. So-called con- learning. nectomic research studies the brains and nervous systems of living creatures. With simple organ- Even as we make rapid progress in neurology isms such as flies and worms, it can already pro- and machine intelligence inspired by biology, the duce digital replicas of them and transfer these human brain as a whole will remain many times into robotic systems. The results of this research more powerful than its machine counterparts for offer hope for decisive breakthroughs in Artifi- a long time to come. © vog.photo

Global Shift

Global Shift deals with the many facets of global Today, our technological progress not only change and upheaval. What does the new geog- extends throughout the earth — it also reaches raphy of the digital age look like? How do popula- into space with satellite and space-travel tech- tions and their structures develop? What will our nologies. From the new digital infrastructure to world look like in the future? Anthropocene — that satellite observation of the earth to the data that is what we call the age in which human actions are collected on us every day, Global Shift shows have become the most significant factor for bio- a representative sample of the current conditions

© vog.photo logical, geological, and atmospheric changes. of the world we live in.

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Ars Electronica Labs Machine Learning Studio

Integrating different cultures of knowledge is a science, and has a history stretching from ancient In the Machine Learning Studio, visitors can use these technologies function, but also that every- central aim of the Ars Electronica Labs, which Egypt to the cutting-edge prosthetics of today. It computer vision and machine learning appli- thing the machines “know” is determined by us. runs through all kinds of subjects. At the Citizen- also explores technological body extensions such cations to discover how machines learn and The Machine Learning Studio not only offers Lab, we examine the question of what it means as brain-computer interfaces. perceive their environment. Working with our insights into the hidden inner life of our learn- to participate as a citizen in our societal context The MaterialLab is a space for innovative experi- Techtrainers, they can build and train self-driv- ing devices — it is also a place where prototypes and become active in designing a smart and sus- mentation with all kinds of materials. ing model cars here, program robots with facial and objects are maintained or repaired by the tainable way of life. The SecondBodyLab offers In the BioLab, the focus is on the human organ- recognition, and gain insights into how they can Techtrainers, and where museum procedures insights into the world of prosthetics, a field ism and the processes of life taking place on the teach these devices a wide variety of activities. are revealed that are usually kept behind the that combines craftsmanship, technology, and cellular and molecular levels. Step-by-step, they can experience not only how scenes. © vog.photo © vog.photo

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Mirages & miracles AI x Music

Mirages & miracles by Adrien M & Claire AI x Music is an exhibition about the encoun- tools, and devices needed to perform, record, and B is an augmented reality exhibition ter between Artificial Intelligence and music, reproduce it. The exhibition takes a look at the where the emphasis is on the expe- between human creativity and technical perfec- cultural and technological history of mechanical rience rather than the technology. tion. Music might be the most emotional of all art music players, bridges the gap between them and In a series of installations, you can forms, but it is also deeply connected to mathe- the new developments in machine learning and dive into virtual, three-dimensional matics, to the physics of sound production, and Artificial Intelligence, and shows that far from worlds of poetic fantasy. Augmented to the craftsmanship of instrument makers. This being mere technological phenomena, they raise drawings, holographic illusions, and a means that from the very beginning, the history fundamental questions about the relationship virtual-reality headset are part of this of music is also the history of the instruments, between human and machine. exhibition. The series of installationsis a tribute to us humans as we cling to seemingly lifeless, motionless, inorganic things. The quality of a stone is the allegory for this. Stones are simple, heavy, and motionless. They are the symbol of what is real and concrete. The image through the tablet computer, on the other hand, is immaterial, mobile, agile, and embodies the imaginative element that we humans often lack: the view through them reveals a hid- den world in which the stones are brought to life. The tablet becomes the window to these previously undiscov- ered realities. © vog.photo © vog.photo

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Kids’ Research Laboratory Deep Space 8K

How can children be introduced to new technol- discover our world, the digital as well as the The Ars Electronica Center offers its visitors gigapixel images, videos, films, and 3D anima- ogies? Our answer to this question was to create analog, the natural as well as the artificial world. something that is unique in the world: 16 x 9 tions in razor-sharp brilliance and color. Unlike our own research laboratory just for children. For children, the whole world is a laboratory in meters of wall projection and an equal area of any other cinema, Deep Space 8K allows you With the Ars Electronica Kids’ Research Labora- which experiments and research journeys are floor projection. With a resolution of 8.192 × to sit or stand right inside the picture or move tory, a versatile playing field has been created constantly taking place. 4.320 pixels in 120 Hz and stereo 3D, even the through impressive 3D virtual worlds, thanks to that gives children time and space to play and tiniest details of an image can be displayed and our floor-projection system. discovered. Experience unique Deep Space 8K © vog.photo Bauernhansl / Robert © Ars Electronica

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Ars Electronica Home Delivery Ars Electronica Home Delivery has come to stay ...

The Corona Pandemic posed enormous chal- excursions to the Ars Electronica Labs, visits to Ars Electronica Home Delivery was never intended “With Ars Electronica Home Delivery, we’re now lenges for the Ars Electronica Center, as it did the Machine Learning Studio, concerts with real- as a substitute for a visit to the closed museum, doing just that online. In doing so, we’re creat- for all the other cultural institutions around the time visualizations, Deep Space LIVE sessions, but rather as a newly developed mediation ing an additional and lasting range of offerings world. Health is the highest good, and that is workshops with engineers and talks with artists approach. It is intended to permanently open that will enhance our portfolio in the long term, precisely why everything was done during this and scientists from all over the world. What is up the artistic-scientific preoccupation with the for example for schools and businesses.” In the period to prevent further exponential spread of special about it is that everything is LIVE, and future that has been so prevalent in Linz to a larger future, guided tours, presentations and work- the Covid-19 virus. Part of this effort was the much of it is even interactive. audience. The program will be maintained even shops will be held not only at the Ars Electronica official closure of museums. Therefore, the Ars The kick-off was on Friday, May 1, 2020, with a when the Ars Electronica Center can be visited Center in Linz, but also on the Web or as hybrid Electronica Center was also closed on March 13, concert from the Ars Electronica Center’s “Piano again as usual. “Our educational task is to carry formats, making them interesting for audiences 2020. Shortly afterwards, the idea of Ars Elec- Room”: Maki Namekawa and Dennis Russell on a discourse on current developments in art, beyond Austria’s borders. tronica Home Delivery was born — a kind of deliv- Davies played “Ma Mère L’Oye” for piano four technology and society,” says Gerfried Stocker. ery service for all content that Ars Electronica hands by Maurice Ravel, while Cori O’Lan con- has to offer. “If you can’t come to the Museum of tributed real-time visualizations. the Future — we’ll come to you,” was the motto. The contents can be streamed live via ars.elec- A weekly program is offered that includes guided tronica.art/homedelivery or YouTube and can also ... and is intended to unfold tried and tested tours through the Ars Electronica exhibitions, be viewed there afterwards. strengths in new territory

Ars Electronica Home Delivery relies on the com- was that we didn’t want to make museum tele- petence and expertise developed over the years vision, but rather create an experience. As with by the museum team and at the same time opens all of Ars Electronica’s other activities, our claim up completely new territory. “When it comes here is not to treat people as mere recipients, but to content and communication, not much will to make them into participants. We don’t want to change,” says Gerfried Stocker, “our Infotrainers just edify or entertain, but to involve, inspire and are incredibly good at wrapping complex topics motivate everyone. Only if we succeed in this, in exciting stories, preparing them for different we will have reached our goal.” That is why many target audiences and instigating dialogues and of Ars Electronica Home Delivery’s offerings give discussions.” However, all of this had previously audiences the opportunity to participate, shape only been done on-site, and the team had little and work. As is typical for Ars Electronica, the experience with it on the Web. “What was really focus is not on mere presentation but on inter- challenging about Ars Electronica Home Delivery action. Robert Bauernhansl Robert — © Ars Electronica

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LIVE and interactive from the Ars Electronica Center Linz

The program structure of Ars Electronica Home the arts and sciences to talk to us. Deep Space Delivery is based on the qualities that have became a showcase from which we broadcast made the Ars Electronica Center the best-vis- extraordinary presentations. Our piano room ited museum in Upper Austria for years. There became a stage for concerts including visualiza- are guided tours, presentations, workshops and tions. And we have a mobile unit with which we concerts, all of which use the Ars Electronica Cen- can move through all the exhibitions and labs in ter’s infrastructure. “Our CitizenLab has become the entire building and take guided tours,” says an open forum in which we invite guests from Gerfried Stocker.

A MULTIFACETED PROGRAM FOR DIFFERENT TARGET AUDIENCES

Ars Electronica Home Delivery … In Concert

Concerts plus (real-time) visualizations by jection surfaces and sensors that make it possible renowned artists are offered regularly. The venue to show visualizations that interact in real time and stage for these performances is the Ars with the volume and timbre of the music. Before Electronica Center’s new “Piano Room” with the and after the concerts, there are always moder- Bösendorfer 290 Imperial CEUS computerized ated talks with the artists in which the audience grand piano. This room is also equipped with pro- can participate. Robert Bauernhansl Robert — © Ars Electronica

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Ars Electronica Home Delivery … In Deep Space 8K

Not much needs to be said here about the spe- media art or art history. The Deep Space LIVE cial features of Deep Space 8K. In the context of format (every Thursday at 7 p.m.), which has Ars Electronica Home Delivery, too, the projec- been very popular for years, is also part of the tion room unfolds its full potential and provides Ars Electronica Home Delivery program, as are a unique setting for special interactive presen- numerous new — in part moderated — formats. tations on topics such as astronomy, anatomy, Robert Bauernhansl Robert — © Ars Electronica

Ars Electronica Home Delivery … In the Labs

Since last June, the Ars Electronica Center has “Ars Electronica Home Delivery.” Guided by the had an entire “laboratory floor” which strings Ars Electronica Center’s Infotrainers, interactive together MaterialLab, BioLab, FabLab and Citi- workshops are offered for various age and target zenLab. All of these labs form an infrastructure groups. The CitizenLab is also the venue for reg- that gives visitors the chance to actively work ular — and interactive — talks with guests from the on future topics. And it is precisely this oppor- arts and sciences. tunity that is also being offered in the context of Robert Bauernhansl Robert — © Ars Electronica 362 363 ARS ELECTRONICA / Ars Electronica Center

Ars Electronica Home Delivery … Ars Electronica Home Delivery … Let’s take a Tour! Talking to Artists & Scientists

Guided tours are a consistent and popular offer- Over the past decades, Ars Electronica has ing of the Museum of the Future. It goes without assembled a worldwide network that includes saying that these are also offered daily as part thousands of artists, scientists, developers and of Ars Electronica Home Delivery. As usual, the activists. Quite a number of them have already Ars Electronica Center’s Infotrainers will act as been and will continue to be guests in the Ars “travel guides to the future.” Electronica Center’s CitizenLab — both real and virtual — and will each devote themselves to dif- ferent aspects of the time during and especially after Corona. The audience is invited to join in the conversation. Robert Bauernhansl Robert Robert Bauernhansl Robert — — © Ars Electronica © Ars Electronica

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ZERO1 (US) American Arts Incubator — Austria

American Arts Incubator (AAI) is a creative Rashin Fahandej is an Iranian-American multi- exchange program that utilizes community-driven media artist, filmmaker, and educator. Her proj- digital and new media art projects to insti- ects center on marginalized voices, and the role gate dialogue, build communities, bolster local of media, technology, and public collaboration in economies, and further social innovation. Each generating social change. Her methods take on incubator addresses a relevant social or envi- the lens of “Art as Ecosystem,” creating a network ronmental challenge such as economic equity, of collaborations with a multiplicity of narratives youth empowerment, gender equality, and envi- that investigate social systems and occupy pub- ronmental sustainability. Since its inception in lic sites as a critical discourse. The workshops 2015, incubators have been held in 27 countries explored social inclusion by investigating new on five continents. media literacy and by providing access to cutting This year’s incubator in Austria was hosted by edge tools and technology to co-create proto- Ars Electronica and led by U.S. artist Rashin Fah- types for immersive and poetic reflections and andej. Fahandej ran the Future of Inclusion Lab, a experiences. series of co-creation workshops that consisted of SM listening/witnessing sessions, field research, and American Arts Incubator is an initiative of the U.S. Department of State’s Bureau of Educational and Cultural story and data collection activities. The workshop Affairs developed in partnership with ZERO1. American participants produced immersive experiences Arts Incubator — Austria 2020 was led by Rashin Fahandej using emerging technologies and created poetic and produced in collaboration with U.S. Embassy Vienna reflections on the state of social inclusion from a and Ars Electronica. diverse array of perspectives. Workshop prototypes Workshop

A Father’s Lullaby, by Rashin Fahandej; immersive installation, Institute of Contemporary Arts, Boston (2019) Photo: Aram Bogosian

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Much of the Ars Electronica Archive has already ing the significance of online archives and media- Ars Electronica (AT) been made available to the public online in a art platforms and how they can be made more clearly organized and easy-to-access manner at easily accessible and attractive in the future. To Ars Electronica Archive — http://archive.aec.at . The areas most compre- this end, we were concerned with not limiting hensively covered are the Prix Archive with the our dialogue partners to people from the archive Digital Art Histories presentation of all winners since 1987, the Print sector, but rather with also seeking input from Archive with the catalogue publications since representatives of universities, the arts, galler- As part of the “Digital Art Histories” project, context, there will also be collaboration with the 1979, and the Pic Archive with photographs since ies, and the art market, and in particular from the national and international partners collaborate University of Art and Design Linz (in particular 1979. In addition, the Online Archive includes the artists themselves. to promote development and public discussion with the Interface Cultures department) and the STARTS PRIZE Archive, “Talks and Lectures” area Preliminary opinions, ideas, and results will be of archival standards. Two of the oldest media- Danube University Krems. Selected artists will with a selection of talks and lectures given at the presented online as part of the 2020 Ars Electron- art platforms, ISEA and Siggraph, have displayed be involved as well. In this context, the Ars Elec- Festival, the “Women in Media Arts Database,” ica Festival. Moreover, a number of the experts their interest in jointly addressing this topic. Fur- tronica Archive will examine the documentation which since 2016 has also been open to contri- will be invited to report at a symposium on topics ther collaborations are planned. As the “econo- and archiving of the exhibitions held at the Ars butions from female artists not associated with and projects particularly important to them. Fol- mization” and thus the marketability of media art Electronica Center and other relevant projects, Ars Electronica, and the “Art & Science” area, as lowing the Festival, their talks, like many others is to a large degree dependent on its value reten- devoting itself in particular to developing guide- a documentation of the European Digital Art and given at the Ars Electronica Festival, will be avail- tion and permanence, the demands of galleries lines/standards for information flow between the Science Network Initiative. able in the Online Archive’s “Talks & Lectures” and collectors should also be ascertained in a tar- museum team and the archive with regard to the In 2020, a time in which online content is more section at http://talksandlectures.aec.at. geted manner and incorporated into the research documentation of future exhibitions. important than ever due to events surrounding Another topic of discussion will be the Liver- work. And because a large part of the current Supported by Federal Ministry Republic of Austria the COVID-19 pandemic, we are again devoting pool Declaration, which advocates a globally research in this area is done in the academic Arts, Culture, Civil Service and Sport ourselves intensively to our own Online Archive. networked organization and support for media This process began with an exchange of ideas art, and the joint efforts of ADA Archives, ISEA, with other interested parties and experts regard- Siggraph and Ars Electronica based on this. http://www.mediaarthistory.org/declaration © vog.photo

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ARS ELECTRONICA FUTURELAB Photo: Raphael Schaumburg-Lippe / Ars Electronica Futurelab / Ars Electronica Schaumburg-Lippe Raphael Photo: Ars Electronica Futurelab presents Swarm Arena collaborating with NTT, in Tokyo with NTT, collaborating Arena Swarm presents Futurelab Ars Electronica

Envisioning the Future by Birgit Cakir and Sanja Bajakić based on an interview with Horst Hörtner, Roland Haring and Hideaki Ogawa

The Ars Electronica Futurelab is a laboratory and atelier for future systems. As the think-and-do tank of the Ars Electronica, it always places the human being at the center of research, considering the social aspects of technological developments such as artificial intelligence, robotics, media architecture, interactive technologies, new aesthetic forms of expression or swarm intelligence and their effects on the future of society.

At the interface of art, technology, and society, it creates future visions, which are realized for the public, together with cooperation partners from the fields of business, culture, research, and education. The network and team of international artists and scientists of the Ars Electronica Futurelab comes from a wide range of disciplines. It is concerned with the development and evaluation of technological innovation. In the Ars Electronica Futurelab, transdisciplinary research is used as a method to create new future approaches, possibilities, and inspirations.

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“And if there is something right concerning the future, it is fundamental change. “Science creates knowledge and technology creates possibilities. This has been true in history and will be true in the future as well.” But it is only art that creates meaning.” Horst Hörtner Horst Hörtner

Human interaction with technology determines a result of our constantly changing expectations The trilogy of art, technology and society is into new artistic spaces and to conquer unknown the particular aspect of the future that the Ars of the future. In order to design a contemporary the principle of the Ars Electronica Futurelab’s scientific terrain. Electronica Futurelab has been focusing on for perspective for our society, existing technologies approach, as technology in and of itself would The individual artistic research question of each almost 25 years. And this fundamental fact dis- are being used for creating innovative constructs never fulfil this meaningful framework. The Ars member forms the basis of the Ars Electronica tinguishes the Ars Electronica Futurelab from and sketching possible future visions that are Electronica Futurelab has been living this triad Futurelab’s systematic concept, its art and its the broad range of topics that future sciences in always extended by a practical experience. By systematically and intuitively since its beginnings science. Combining innovative technology with a general are researching. The inherent desire for making abstract concepts tangible, they become in 1996. It encourages each individual in the team social artistic mindset gives a decisive relevance change characterizes the laboratory, which artis- part of reality. And this kind of verification or fal- to develop their own interpretation of art, tech- to every single result. Without that, all research tically deals with the technological transforma- sification of new theoretical perspectives is a key nology and society, to explore and transform it would be incomplete and simply abstract. tion of society day by day. The ensuing diversity is task for any laboratory.

“Immoveable structures existing aside of the people involved can hinder innovation. “The only thing you can create is the future. Anything else is already created. Our structures are always guided by the actual needs of the team.” And it will be created based on your decisions.” Roland Haring Horst Hörtner The Ars Electronica Futurelab’s method is com- The Ars Electronica Futurelab Ideas Expedition Our decisions of today create the future of tomor- The future is a result of creativity, passion and parable to jazz improvisation, which seems to aims to encourage people to rethink the future row. And questioning them contributes to shaping opportunities, and the unconscious exchange of be completely free of all rules except for struc- and implement their concepts for an upcoming the world. This process requires information shar- ideas of responsibility. Questions asked to the ture. Listening carefully to everyone else, the world. Ars Electronica’s Japanese counterpart, ing and an interest in the technological or political audience are close to the future. These questions researcher (musician) is doing their work, while Ars Electronica Japan, is extending the network environment, which is why Ars Electronica excels are fundamental to the role played by Ars Elec- improvising to the beat of the laboratory (band). beyond the borders of continents. in offering opportunities to reflect — much more tronica Futurelab’s art: It observes and discusses, This kind of dialogue, which is part of the daily But also by cooperating with partners from the than any educational system. It is reflection per reflects and changes — day by day. routine at Ars Electronica Futurelab, is funda- industry, science, the cultural sector and educa- se that leads to a comprehensive cultural edu- mental to the system’s success. The fact that tional institutions, Ars Electronica Futurelab gets cation. each member is an expert in their task might be a valuable response, which in turn influences new crucial, but that is not enough. Only simultane- attitudes and values. All of these experiences, “We are not failing, but we are challenging. ous reaction and virtuoso performance make the people and cooperations made the laboratory Future means that we can envision and create.” Ars Electronica Futurelab Jam Session run like a what it is today. clockwork. In 2021, the Ars Electronica Futurelab is cel- Hideaki Ogawa To further this concept, the Ars Electronica ebrating its 25th anniversary. This year will be In the early days in 1996, the Ars Electronica on topics such as art and governance. Over the Futurelab regularly opens its participation pro- held as a tribute to all people and partners who Futurelab focused almost exclusively on produc- years, these fundamental internal changes have cesses to external players as well, for example as made the Ars Electronica Futurelab’s existence, ing interactive installations for the Ars Electron- made it necessary to rethink existing strategies part of its initiatives: The Ars Electronica Futurelab and all the many changes experienced through- ica Center, and almost all of the applications were again and again, and to continuously find new Residency Program serves as a haven for interna- out its history, possible. It is these people and designed for internal exhibitions. But right from approaches to interesting and socially relevant tional guests and shows a strong responsibility these changes that cause a constant rethinking the beginning, Ars Electronica Futurelab began research questions with all possible expressions to share fundamental knowledge and innova- and reflecting on the role as a laboratory for the to build a network of partners and collaborators, and answers. Adding artistic context and social tive ideas. In formats such as the Ars Electron- future in this ever-changing world. And this is which created an ecosystem for mutual inspira- coherence, the Ars Electronica Futurelab has ica Futurelab Academy, members try to pass on exactly what the Ars Electronica Futurelab will tional exchange. always created the meaning of media and showed value systems to external talents while support- keep on doing: Working on the future. Because While it started by exploring the interaction interest in their material and the technologies ing them with their broad networking system. things will keep changing. between art and technology and later art and they are based on. science, the laboratory is currently also focusing

372 373 ARS ELECTRONICA / Ars Electronica Futurelab Ars Electronica Futurelab Ars Electronica Japan Ideas Expedition

Ars Electronica Japan is an experimental initia- through collaborations with a variety of Japanese The Ars Electronica Futurelab Ideas Expedition is Ricercar: An AI-based Music Companion tive to bring Ars Electronica’s cultural creation partners. Ars Electronica Japan applies cutting- a new initiative that was introduced by the Ars by Ali Nikrang and Ars Electronica Futurelab’s future creation to edge art for innovation, research, education, and Electronica Futurelab directors in early 2020 to Japan. Throughout its 40-year history, Ars Elec- shaping future society, aiming to realize an open encourage internal talents and collaborations. Deepandemia / DeepChanges tronica has engaged in unique collaborations with and creative society with various partners. What It allows the laboratory’s team members to use by Nicolas Naveau, Peter Freudling and many Japanese artists, scientists, cultural and role can art play for a better society? Ars Elec- their cre-ativity and expertise to develop ideas for Johannes Pöll public institutions, and corporations. Ars Elec- tronica Japan will conduct a variety of experi- future projects without being limited to existing tronica Japan is a network effort with no physical ments as a prototype of a “cultural infrastructure” Ars Electronica Futurelab research areas or activ- Spotless presence in Japan — it manifests its activities for creating the future. ities. Ideas Expedition is a yearly open call for proj- by Daniel Rammer ects of all forms: from performances, sci-entific works, interactive sound environments, software Besides the winners, the jury awarded six other projects, design concepts, installations, books, projects with honorary mentions. These are TOKYO MIDTOWN: musical compositions, games to art — every idea projects that were deemed convincing in their is welcome, as long as it is positioned against potential but the creators were encouraged to School of the Future Festival 2020 the background of the Ars Electronica Futurelab keep refining their ideas: TOKYO MIDTOWN, Tokyo, Japan, February 20-24, 2020 and the Ars Electronica, especially considering its relevance for and impact on society’s future and Migrate Ars Electronica and TOKYO MIDTOWN have been means shedding in Japanese. the further development of the Ars Electronica by Daniel Rammer and Peter Holzkorn collaborating since 2017 on the educational proj- Through 36 events such as exhibitions, perfor- Futurelab. All Ars Electronica Futurelab members ect School of the Future, which promotes discus- mances, workshops and talk sessions, around can apply for funding of a project idea, and collab- The Creation of A.I.dam sion about the creative society of the future. The 130,000 visitors took part in the discussion of oration among team members is highly encour- by Julian Zauner and Susanne Teufelauer annual festival was held fromFebruary 20-24, how to break free from their own limitations and aged. Once a project has been accepted by the 2020, under this year’s theme Dappi, which social conventions. jury, the Explorers are mentored by experienced Hollow Words project managers throughout the project reali- by Arno Deutschbauer and Friedrich Bachinger zation. The jury is made up of the three Ars Elec- tronica Futurelab directors, Horst Hörtner, Roland The Zen Machine Haring and Hideaki Ogawa, all three providing by Manuel Dobusch years of experience in recognizing the potential of project ideas. If need be, the jury is allowed to invite additional jurors, opening the selection Our Social Forest process to other members of the laboratory, by Alexandre Bizri and Cloé Assire members of the Ars Electronica and even exter- nal experts from the fields of arts and science. The Essential Hub Project Although this year’s Ars Electronica Futurelab by Yoko Shimizu Ideas Expedition was the first one and a bit of a trial run, more than 20 project ideas were sub- At an internal ceremony, all winners and honor- mitted. The jury had a hard time picking the most ary mentions were awarded with symbolic 3D promising project ideas and in a long review pro- printed replicas of the Golden Nica, honoring cess decided on three projects to be realized. their ideas and engagement. They are presented on the next pages in detail The next Ars Electronica Futurelab Ideas and are exhibited as part of this year’s festival: ­Expedition call is already in preparation.

La parade engloutie performance / Guillaumit and Les Plasticiens Volants, Photo: TOKYO MIDTOWN

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Inspired by the ongoing activities of the unofficial Simple measurements such as social and physi- Happy Collapse Group — which the project team cal distancing, quarantine or wearing a mask can co-founded — several ideas that the team elab- have a huge impact on breaking the infection orated for Ars Electronica Futurelab’s internal chain. Deepandemia will visualize (and gamify) Grant Ars Electronica Futurelab Ideas Expedition the consequences of such actions. The project concentrated around topics of recent environ- team’s hope is to encourage the visitors to think, mental issues created in the Anthropocene. Cli- discuss and take action in the real world, since mate change, globalization, energy consumption this kind of threat will most probably remain with and the recent COVID-19 crisis were among many us for a while. Deepandemia is envisioned as the topics which caught the team’s attention. first entry of a larger modular simulation frame- The team decided to use the Deep Space 8K in work called DeepChanges. Forthcoming entries the Ars Electronica Center to host their project. will focus on environmental issues such as Deep Space 8K is a one-of-a-kind interactive 3D human-made climate change. Causes and effects

Big Concert Night 2019, Photo: Jürgen Grünwald Jürgen Big Concert Night 2019, Photo: environment which provides a vast range of spa- of the global temperature rise will be elaborated Recent developments in AI-based music genera- can collaboration between human artists and AI tial visualization possibilities and therefore lets with external field experts and visualized in the tion systems have shown highly promising results. systems look like? Creative tasks require creative visitors experience immersive visualizations in Deep Space 8K. The team hopes to develop a AI-based music generation systems are able to ways of collaboration. A trained neural network real time (and real scale). vast amount of contributions over the coming compose music in a quality that was unimag- has its own expectations and assumptions about The COVID-19 pandemic taught us about infec- years — especially focusing on the impact of our inable even two years ago. Today’s AI-generated the music that has been learned during train- tion chains and represents a powerful example of daily life’s actions on our planet. Or as Antoine de music can trigger emotional responses in us. For ing. Based on these assumptions, it calculates how societal collaboration and individual actions Saint-Exupery has put it: “As for the future, your non-experts, it is often very difficult to distinguish the probability of the next note based on some can change the world for the better or the worse. task is not to foresee it, but to enable it.” between AI-generated music and human-com- given previous notes. A human artist has differ- posed music. And yet the question that arises is ent assumptions and expectations. Our goal is this: Can we call music that is generated by an to bring these two worlds together by building a AI system art? Can technology create meaning- new creative environment for human artists. We ful art without human involvement? We believe believe that the potential of current AI systems artistic “meaning” can only be created if there is for creative tasks can only be exploited in collab- “intention” or “will” to create it. Obviously inten- oration with humans. This project involves inves- tion is something that current AI systems do not tigation, development and evaluation of new ways entail. AI-based music generation systems might for humans and AI-based music generation sys- be able to generate the next correct note based tems to collaborate. The software will include two on some given previous notes. However, this does components: An AI-based backend providing a not mean that the generated output has any artis- new music generation software and a web-based tic meaning, just because a generated next note client serving as an interface to human artists. matches the previous notes (from a statistical For each note generated by the AI system, users point of view). This is why human collaboration will receive detailed information, suggestions and is crucial for such a system. Due to the rather lim- alternatives. They will be able to change the note ited interaction possibilities of today’s creative from a list of alternative notes proposed by the AI systems, they are used rather as tools than system. In addition, users can change the music as counterparts. Generally speaking, the aspect completely at their own discretion by dragging Futurelab / Ars Electronica Freudling Peter Image: of interaction and collaboration between cre- and moving the notes. In this case, the AI system ative AI systems and their human users has not will continue the composition in an alternative received much attention in recent years. But what way based on the changes made by the users. DeepChanges,

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Spotless Ars Electronica Futurelab An Artifact-Bound, Augmented-Reality Powered Social Interface by Daniel Rammer Key Research Topics

Spotless’s goal is to empower users to utilize Older widespread platforms, such as Facebook or It is questions that move the Ars Electronica scientific reflection, its current research dis- arbitrary objects as communication channels. Twitter, and younger ones, like Snapchat or Tik- Futurelab forward as an R&D institution, not their cusses relevant future questions. The basic concept is to connect objects or “arti- Tok, have one important aspect in common: quick answers. The Ars Electronica Futurelab’s research In an effort to make the research topics more facts” by the means of their visual equality. For access to their contents. Usually, users are just approach is based on a transdisciplinary concept. tangible, the Ars Electronica Futurelab’s Key instance: You go to your office in the morning and one tap on their smartphone away from diving On the periphery of art, society and technology Researchers introduced them on this year’s get a cup of coffee or tea. With Spotless, you can into some kind of information stream; one more and in a constant dialogue with the future, the Ars Electronica Home Delivery Program: pin a message on the cup and read other users’ swipe changes the contents. This low barrier plus Ars Electronica Futurelab explores visions for https://ars.electronica.art/homedelivery/en/. messages simultaneously. A message added to notifications that remind you to perform that sim- innovative business, meaningful life and creative Here is an overview of the eight most recent that cup becomes visible on all other cups which ple tap foster a frequent and unconscious use. concepts and realizes them. With avant-garde key research studies being conducted at look the same. Visually clearly distinguishable This is where Spotless is different: people need and progressive methods and unconditional Ars Electronica Futurelab. cups — perhaps distinctively branded by your the physical object to interact with one specific company — would serve as a communication stream or channel within this social medium. That channel for a very limited group of people. How- barrier is considered a positive feature for two ever, lots of people would comment on simple reasons: First, the interaction with that type of white mugs. A mobile application which could social media becomes a more deliberate act — this run on a smartphone, tablet, smart glass, or in can help to regulate the time and energy spent the future on smart contact lenses, is the entry using it. And second, because a higher effort is Art Thinking point to the Spotless infrastructure. involved, it provides the potential to emphasize What is the latest role of art? And how can we apply this art to the future of society? a message. Objects can grow to icons that sym- by Hideaki Ogawa bolically represent a specific cause. A wide range of potential use cases emerges with Art is a catalyst for shaping a better future soci- tours, lectures,­ talks, workshops, prototyping the development of this service. One possibility ety, a way to open up new perspectives, encour- and actions. Using the Art Thinking attitude, it is communication through common objects, such age curiosity to look at what is behind the scenes connects creators, industries, governments, and as the coffee cup example earlier in this text. If and to stimulate creative solutions. This research citizens by cultivating a creative mindset of ques- someone in Los Angeles writes down her thoughts aims to explore the process of applying artistic tioning the world. As a research domain, but also on a cup, others in Vienna or Tokyo, holding the thinking and an artful view to a broader range of as an attitude, Art Thinking has the potential to same type of cup, can instantly read that message challenges. catalyze innovation, new modes of education and and respond via the same channel. How can we become more human? How can strategy. We believe that art and artistic think- Everything can be augmented. It could be logos, microbes safe the earth? How can we co-exist ing is the best way to understand even the most buildings, all kinds of daily items such as the with technology as our second nature? Artists complex issues and systems created by human- packaging of your favorite soft drink, and even have always understood the power of questions. kind — be they societal, economic, political, or faces. Of course, unlike product packaging, build- They transcend from spiritual to material, func- technological. Art holds the power to scrutinize ings and faces tend to be unique. Nevertheless, tion to form, natural science to social science, in existing beliefs, cast doubt on common percep- they can be augmented and information can be search of a best match of a theme, medium and tions, and find a way to think outside the box. The shared on them. The augmentation of faces in expression. They detect social and technological goal of this research is to empower participants particular raises questions about privacy and inti- trends that are not yet given a name, and give a to take on the various societal and technological macy. These questions are not new within the form to communicate those micro trends tangibly. complexities facing us in today’s fast-paced and , Image: Raphael Schaumburg-Lippe / Ars Electronica Futurelab / Ars Electronica Schaumburg-Lippe Raphael , Image: Spotless realm of social media but become apparent in a In this research, we are exploring the Art fluctuating environment, with the new attitude Social media is a dynamic field that evolves with very tangible way. ­Thinking programs consisting of inspirational of Art Thinking. increasing rapidity. This process does not seem However, the vision is simple: Everyone can likely to cool down anytime soon. augment every kind of object and pattern.

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Co-Immersive Spaces Creative Intelligence How can we create spaces to experience virtual realities collaboratively? Can machines create? by Roland Haring by Ali Nikrang

One of the key elements to achieve a climate-neu- Live Participatory Performances enable remote “Can machines think?” Over 70 years after the process of being creative and the meaning of tral society is technological innovation, and one of audiences to contribute to the work, which means Alan Turing began a paper with this question, being creative. However, it also includes human the key emissive factors to address is traffic. The that their experience and response becomes part we still do not have agreement on the answer. involvement and whether humans have been part environmental costs of attending conferences, of the aesthetic of the performance. Actions and The answer of this question depends on how we of the creative process or not. While the develop- meetings and festivals is substantial. The recent reactions of the audience can be sensed, trans- define thinking, the process of thinking and the ment of AI-based creative applications has seen surge of a pandemic gave dramatically even more mitted, and represented in the performance, meaning of thinking. But what about creativity? a surge of considerable advances in recent years, importance to this topic and led to a complete which in turn affects the performance itself. Can machines create? In recent years, there interaction and collaboration between these sys- societal and migrational lockdown. Therefore, it Participatory Immersive Experiences give the has been great academic interest in applying tems and humans was not given much attention. is essential to develop immersive communica- viewers at the remote location a higher sense Deep Learning to creative tasks such as creating Current AI-based creative applications are used tion technologies which can allow participants to of connection and a shared experience with the texts, images or music with fascinating results. as tools rather than counterparts. Due to the attend any kind of events remotely without losing performers. Recent demonstrations in the Deep The research interest in these generative mod- rather limited interaction possibilities, the output a significant part of the quality experienced join- Space 8K have shown the potential of participa- els is based on the assumption that generating of the system cannot be satisfactorily influenced ing on-site and in person. tory performances in immersive environments. new, similar data is only possible by learning by the users. The use of new, collaborative inter- Immersive live experiences aim at providing Going even one step beyond this, it is possible an essential understanding of the nature of the action possibilities could create new possibili- users in a remote location a highly immersive to imagine a collaborative immersive live expe- input data. Technically speaking, Deep Learning ties in which humans and AI systems can develop view of events such as concerts, performances, rience between two sites where both sides models can only learn the statistical patterns of their creative potential together. sports, and lectures, occurring at an event site. become equally active participants. The two sites the data. Thus, they often can learn relationships Given this lack of satisfactory interaction pos- A high degree of immersion is created with the can exchange high-quality video and audio and in the data that human observers have not been sibilities, our research focuses not only on the combination of ultra-high-quality (e.g. pan- together explore the visualizations of a shared VR aware of, and thereby serve as a new source of technological aspects of AI in creative and artistic oramic or stereoscopic) video, and spatial audio, application interactively. Forms of collaborative inspiration for human creativity. Similar to the applications, but also on new ways of interac- together with the presentation at the remote site live experiences can include immersive lectures, question of thinking, the answer to the question tion and collaboration between humans and AI in a large screen immersive environment (like the shared performances and scientific, industrial, as of creativity lies also in how we define creativity, systems. Deep Space 8K). The ITU-T has created a work- well as design visualizations. In co-immersive live ing group on Immersive Live Experiences and lectures, co-located local lecturers can perform defined them as “a shared viewing experience a joint visualization of 3D data with co-­located which stimulates emotions within audiences at users in a remote environment. Those users both the event venue and at remote sites, as if would be able to visualize the data reciprocally the viewers at the remote sites wandered into in their own immersive environment and interact a substantial event venue and watched actual with it in equal ways. Additionally, the presenters events taking place in front of them.” can be visually captured and represented, either Although the Immersive Live Experience use case virtually or even co-located through a robotic allows having a shared experience of an event, it telepresence system, at the remote location, and is fundamentally unidirectional. Therefore, it is the audience can be represented at both sites. essential to let the audience at the remote site These forms of physical and virtual co-presence have a more active role and participate in the will create the foundation for truly co-immersive event in meaningful ways. environments. Vector Space: Prix Ars Electronica Universe / Ars Electronica Futurelab (AT) Futurelab / Ars Electronica Universe Ars Electronica Prix Space: Vector Futurelab Ars Electronica / Photo: Image

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Algorithmic Apperception How can we enable / teach machines to share and interact with us in the same space? by Otto Naderer

Physical space is something merely exclusively what humans are up to puts an artificial system entitled to humans. It is where we walk, explore, one step ahead, enabling it to proactively pro- engage with others. The way we utilize space, vide e.g. contextual options. In many aspects, interact and where we stand transports a lot this research ambition consequently extends into about feelings, mood, intimacy (s. Proxemics). the fields of sociology and psychology. Provid- Algorithmic Apperception investigates ways to ing machines with valuable information requires admit artificial systems into this space. It is the proper sensors and profound multi-sensory ambition to enable machines to not only sense techniques, similar to humans making use of their environment but make sense of it. In order their body senses. A meaningful combination of to weave themselves seamlessly into our daily obtained features in conjunction with a sociolog- life, machines need to be able to derive intentions ical and cultural understanding assures natural from human behavior. An autonomous vehicle is interaction, simplicity, and intuition. Further- only useful if it can correctly identify that one per- more, recent advances in artificial intelligence son intending to cross the road. Understanding open a variety of new possibilities.

Artificial Collectives / Ars Electronica Florian Voggeneder Photo: system, navigation outdoor new the Fluxels’ Testing Digital Resonance How do we teach groups of machines autonomy, cooperation and expression? What resonance can we create beyond interaction? by Peter Holzkorn by Kyoko Kunoh

Multi-agent systems that collaborate in physi- their environment? Can we take clues from how Digital Resonance is research exploring new ways cal space to accomplish tasks take many forms, groups of living beings cooperate? How can such of communication with yourself, others, society, from drone swarms to sensor networks, and their a ­system, as a collective, be easily scalable and and the environment through digital technology. variability and versatility will only increase in the robust towards imperfect sensing or communi- The evolution of digital technology in the last few future. Every such system has degrees of auton- cation? decades has expanded the concept of interaction omy in its control mechanisms: The more auton- Inherent in decentralized agency is a diversity not only to technology, but also to design and art. omous, the more trust is placed in the system’s of expressive forms: It may be a philosophical Digital technology now is stepping into creating algorithms to make good decisions, and the less question at what point a decision deserves to be resonance from connecting between people and it burdens humans with supervising it. called truly autonomous in a technical appara- technology. How can digital technology stimulate Artificial Collectives refers to the development of tus, but we humans certainly perceive autonomy, our emotion and imagination? What digital tech- systems that are multitudes of technical units, form and purpose in the coordinated behavior of a nology can create empathy and solidarity between and how they can be imbued with decentralized, multitude. From this perspective, the expressive people beyond physical distances? How can we coordinated decision-making. What principles potential of a distributed autonomous system is create a better relationship between evolving and languages do we need to instruct a swarm vast: The tension between the artist/­programmer, ­digital technologies such as AI and people? What of drones to solve a particular problem? How emergent behavior and perception is here­ content, context and design creates resonance in can they communicate with each other, and with investigated in physical-mechanical space. the field of digital media art? This research will

open a new field of aesthetic awareness about Shadowgram by Ars Electronica Futurelab (AT), Photo: Tom Mesic digital technology and promote the future of ­digital technology that empowers people.

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Origami Robotics Poetic Systems How can the art and science of origami make robotics more natural in the future? How can art transform systems not accessible to us into a new level of meaning? by Matthew Gardiner and Rachel Hanlon by Stefan Mittlböck-Jungwirth-Fohringer

Robotic Origami, or Oribotics, is poised to become include: sifting through the active state of the art We live in a world of systems. We humans are a surrounding us, for us and our society. Artistic an influential field for future robotic research. research; developing new collaborations within system in ourselves and live in symbiosis with works — Poetic Systems — transform systems not Robotic Origami is concerned with the study the project’s partner network of experienced many natural systems. In addition, we have cre- accessible to us into a new level of meaning. They of folded mechanisms where researchers are artists, origamists and technologists; creating ated and continue to create many artificial sys- speak a sensual-emotional language and create generally interested in applications of folding new methods to address the following areas: tems that elude the sensory perception of us them through their immediate, aesthetic appear- in mechanical, electro-mechanical, and bio-­ Fold Sensing, Fold Transformation, and Fold humans. They elude us because we humans lack ance: free space. mechanical systems. Programming. We aim to develop the tools and the sensory perception for them or because these In the context of art and architecture / art in Our research, funded by the FWF PEEK program, approaches for the future robotic origami stu- systems and their interrelationships of meaning ­public space, the research and work field of addresses problems in the fields of Computa- dio, to push artistic, technical, and theoretical are no longer comprehensible to the individual Poetic Systems­ offers new strategies and ways tional Origami, Soft-Robotics and Active Origami, boundaries. Our results, such as published exhib- human being. How can these technical, political, of thinking that enable an epistemic transfor- through a methodology framed by art and sci- its, papers, and video documentation, are aimed information, software and mobility systems sur- mation. Transformation is always an interplay ence. Our work builds on our novel methods of to inspire the future generations of artists and rounding us be transformed into a form that we between deconstruction and construction. Fold Printing and Fold Mapping. Our objectives scientists in the field. humans can perceive? ­Deconstruction in the searching, researching The answer is art. The transformation of levels and analyzing sense; construction in the sense of knowledge, cognition and perception into of the creative act, creation in all its conceivable poetic levels of meaning has always been a cen- and feasible forms. Poetic Systems tries to regain tral theme in art — it is thus possible to make the lost balance between nature and technology the invisible visible, the intangible tangible, to and looks for possibilities with the means of art encode and decode meanings. With the means to make technology positively usable for us as a of art and artistic research, knowledge is gen- ­society and for our environment. The search for erated — in this way, the components of systems the poetic moment within the diversity of systems are made comprehensible on an emotional and surrounding us human beings holds the possibil- cognitive level. Art and its means of expression ity of unique perspectives that have great creative enable us to experience the interrelationships potential, which allows artistic work to emerge of meaning of the natural and artificial systems in the field between art, technology and society.

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Ars Electronica Futurelab Projects Swarm Arena / Fluxels NTT — Nippon Telegraph and Telephone Corporation R&D Service Evolution Labs (JP), Ars Electronica Futurelab (AT) Based on its research, the Ars Electronica tion with technology at the center of its research, Futurelab realizes projects for the public, all of the Ars Electronica Futurelab’s projects are In 2016, Japanese Telecom Provider NTT and light pixels in the sky as a new medium of expres- together with various cooperation partners from in a sense a mirror of today’s society’s trends. Ars Electronica started a joint research initiative sion, the bots allow for novel ways of mapping the fields of business, culture, research, and edu- This approach allows for a constant change of with the aim of creating and exploring new user video content to a “canvas” that can continuously cation. Putting the human being and its interac- and reflection on different topics. experiences that combine communication tech- reconfigure and re-assemble itself in relation to nologies and art. Since then, NTT’s R&D Labo- other objects and performers in a space. We call ratories and the Ars Electronica Futurelab have the display bots Fluxels, in reference to the heri- been integrating their creative approaches and tage of our Spaxels drone projects and in recogni- technical expertise to produce a series of exper- tion of the impression of fluidity and visual layers iments and performances that would lead to new that are in constant motion as the bots move. Rotax MAX Dome Enhancements communication systems and sports watching Work on the Fluxels continued in preparation for Rotax (AT), Polycular OG (AT) Ars Electronica Futurelab (AT) experiences in public spaces. large-scale outdoor performances. Most impor- In July 2019 in a choreography named Swarm tantly, they were extended with cutting-edge RTK- Arena at Tokyo’s Miraikan science center, 39 GPS technology that delivers centimeter-preci- In the summer of 2019, a new e-karting experience Points awarded by all challenges can be agile wheeled robots with brilliant hexagonal LED sion by satellite-based navigation alone. They opened its gates. The Rotax MAX Dome — concep- converted to boosts for the next race or saved for displays visualized how we might relate to the were put to the test in torrential rain and freez- tualized and implemented with the Ars Electronica later consumption. experience of collective live viewing of events in ing cold as Ars Electronica Futurelab researchers Futurelab — offers a variety of unique features: a Track and operations have also received signifi- the future. At the Ars Electronica Festival 2019, were preparing them for upcoming events. Apart 50-meter-long tunnel section with various chal- cant updates. The innovative hybrid kart tracking a smaller version of this performance was pre- from their visual potential, they demonstrate how lenges allows racers to score extra points as they system, consisting of a rough radio positioning as sented at POSTCITY as part of an introduction to SwarmOS can be used as a research platform for pass through. A dedicated room invites visitors to base and augmenting laser rangers in sections the Ars Electronica Futurelab’s SwarmOS, a plat- the future of expressive swarms and human-ro- a group gaming experience where they have to where high accuracy and scan rates are required form for flexible, scalable vehicle swarm control. bot interaction. solve a series of challenges aided by augmented has proven to be a great decision for the interac- Just as the Spaxels established moving physical reality and kart racing. tive Tunnel Challenge. The individual challenges Following six months of operations, a follow-up have been tweaked and visually upgraded. To project was initiated with a clear focus on reflect- support the work of track staff, a new compo- ing on particular gamification concepts and how nent, the Marshal Display, was introduced which well they have been perceived by customers. Fur- provides an overview of the track, key kart telem- thermore, an assessment of internal processes etry and overall system sanity. In the event of and workflow revealed where new software com- failures or telemetry abnormalities warnings are ponents can support the staff in their daily tasks. displayed to the staff. A major step forward was made in unifying the The Enhancement Pack phase has significantly pivotal games in the MAX Dome. Besides the extended the product range. The Rotax MAX Tunnel Challenge, the overhauled Challenge Dome is a proven example of how gamifica- Room now hosts the Team Challenge, a sto- tion can greatly augment the user experience ry-based four-player group gaming experience while increasing customer loyalty by creating played on a touch table and an AR tablet. The return incentive. Rotax and the Ars ­Electronica newly added Booster Challenge invites visi- Futurelab are determined to continue this tors to play a round of fast-paced mini-games. successful collaboration. TFluxels Outdoor Test, Photo: Martin Photo: Hieslmair / Ars Electronica Test, Outdoor TFluxels

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Virtual Anatomy at the JKU Linz Art Thinking Program Johannes Kepler University (AT), Siemens Healthcare (AT), Hakuhodo Inc. (JP), Ars Electronica Futurelab (AT) Ars Electronica Futurelab (AT)

The Johannes Kepler University Linz (JKU) is Top scenarios in the Virtual Anatomy Room The Art Thinking Program (ATP) is a joint consulting­ School, and Art Thinking Project. The Art Thinking currently constructing a modern, future-ori- include high-quality, vivid, and photo-realistic program between Hakuhodo and Ars ­Electronica Tour is an entry program where participants take ented multi-purpose learning space at the JKU visualizations of medical information, such as Futurelab to incorporate the method of Art an inspirational tour of exhibitions to experience Faculty of Medicine’s new medical education and MRIs and CT scans, for educational and train- Thinking into the management and R&D of com- the basic principles of Art Thinking. In the Art research building. ing purposes. The space gives users a unique panies, research institutions, and governmental Thinking School, comprehensive lectures, inspi- Scheduled to open in 2021, the space will not opportunity to explore the human body in detail organizations. Hakuhodo is a leading communica- ration tours, and tool kits are provided to help only be used as a virtual lecture hall for anat- by observing layered images and using a control- tion design and marketing solutions company in participants ideate, conceptualize, and envision omy courses, but will also provide live surgery ler to zoom in and out, rotate images in various Japan with its core philosophy centered around the future. broadcasts from operating rooms to improve stu- directions, and traverse areas that are normally People Thinking (sei-katsu-sha insight). Since In the Art Thinking Project, we collaborate with dent education and post-graduate educational inaccessible in real life. Virtual reality technology 2014, Hakuhodo and Ars Electronica Futurelab companies and organizations on a larger scale, courses. The new space, JKUmedSPACE, will be can be used to immerse aspiring physicians and have been working together to introduce the Art from technology study, ideation, conceptualiza- modeled after the Ars Electronica Center’s Deep nurses in the subject and teach anatomy in a way Thinking methodology in Japan, building creative tion, vision creation, development, to prototyp- Space 8K. that books, photos, and videos cannot. communities where organizations and individu- ing, including demonstrations in festivals and The Ars Electronica Futurelab, the JKU and Over the past year, medical students have als from diverse industries share their ideas and society. Siemens Healthcare have come together to begin been attending virtual lectures in anatomy at know-how. Through these initiatives, Hakuhodo and Ars planning, commissioning, acquiring, construct- Ars Electronica’s Deep Space 8K, experiencing In the Art Thinking Program, organizations and Electronica Futurelab are continuously building ing, and installing the hardware and software animated journeys through the human body as individuals learn how to create their compass and a creative ecosystem of Art Thinking. Our talks, infrastructure required to turn the project into part of their medical training at the University envision the future through artistic inspirations lectures, and events are held in Japan as well as reality. When completed, a new groundbreaking of Linz. Siemens’ Cinematic Rendering process and creative questions. The program is comprised Linz to envision the future together as a global space and black box will be available for media- plays a key role in the project, making this form of three elements: Art Thinking Tour, Art Thinking society. tion and interaction purposes as well as visual- of visualization possible by using hundreds of izing medical information. layered images to provide high-quality, 3D digital images normally only seen in animated movies. As part of the collaboration effort, these inter- active visualizations of the human body will be provided to external parties for commercial use based on various license models. The partners also benefit: Ars Electronica makes its network available at science centers and museums as well as at non-medical educational institutions, and Siemens provides Ars Electronica with infor- mation regarding potentially interested parties in the clinical area. In 2021, Siemens’ Cinematic Rendering software, the Deep Space 8K infrastructure, and the JKU Faculty of Medicine will come together into a new and unique educational space: the JKU’s Virtual Anatomy Room. The Virtual Anatomy Room will create 3D-supported anatomy studies based on, Demonstration of Cinematic Rendering at Deep Space 8K, Photo: Robert Bauernhansl / Ars Electronica but not limited to, virtual reality. Art Thinking Program, Image: Hakuhodo Image: Art Thinking Program,

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Open Futurelab CoBot Studio Crossing Realities for Mutual Understanding in Human-Robot Teams

Open Futurelab is a platform within the Ars In 2020, this open lab will not only host physi- As close collaborations between humans and objects together with a CoBot or guessing the tar- Electronica Festival to showcase and discuss cal exhibitions and talks in Linz, but also various robots increase, the latter must be programmed get location of a moving robot in space have to be Ars Electronica Futurelab’s latest research find- experimental projects online to deepen discus- to be understandable, predictable and thus trust- completed. During the games, signals of intention ings and collaborative projects with research sions about how to envision the future for the new worthy for people. To make this a reality, interdis- by the robot (e.g. light signals or nonverbal com- partners. conditions facing humanity. ciplinary research and development is needed. munication cues) are varied and their respective CoBot Studio is a research initiative where experts impacts on understandability, perceived safety, from various fields, including robotics, psycho­ trust and task success are evaluated. Based on logy, virtual reality, game design, media arts, arti- the results with this first prototype, the CoBot ficial intelligence, human-computer interaction, Studio simulation space will be further developed Future Ink Project and safety work together towards the common in the coming years. Ultimately, the project aims Launch of collaborative research between Wacom and Ars Electronica Futurelab goal of human-centered collaborative robotics. to provide practice-oriented guidelines for the Wacom Co. Ltd. (JP), Ars Electronica Futurelab (AT) Unlike conventional industrial robots, collabora- future communication design of collaborative tive robots — or CoBots for short — are light, safe robots. and intelligent enough to operate in close phys- The Future Ink Project is a collaborative research ways that we cannot explain. There is a special www.cobotstudio.at project between Wacom and Ars Electronica power in these creative moments, perhaps some- ical proximity to people. The formerly isolated industrial robot thus becomes a social machine. It Credits: Futurelab to explore the entire creative potential thing similar to Kotodama, a Japanese belief that LIT Robopsychology Lab, JKU Linz (AT) of ink. As the world’s leader in pen tablets, inter- there are souls and mystical powers in the words must be able to understand the states and inten- Ars Electronica Futurelab (AT) active pen displays, and digital interface tech- that we express. It makes us wonder, what moves tions of others, but also to communicate its own Polycular OG (AT) nologies, Wacom brings people and technology our souls? How do we capture and convey that states and intentions to its human co-workers. Joanneum Robotics (AT) Austrian Research Institute for Artificial Intelligence OFAI (AT) closer together through natural, intuitive inter- special moment? When a CoBot is about to actively intervene in a Blue Danube Robotics GmbH (AT) work process, its planned actions, such as which face solutions. Wacom supports creative com- Through our journey, we have defined five core Center for HCI, University of Salzburg (AT) munities across the globe in making this world a research concepts that explore creativity from direction it will move and which object it will grip CoBot Studio is funded by the Austria Research Promotion more creative place. diverse angles: Space Ink, AI Ink, Bio Ink, Body next, should be made easily interpretable for Agency (FFG) in the frame of the program Ideen Lab 4.0. The journey of our project starts with one creative Ink, and Mind Ink. The objective of the project is nearby humans. question: Where is my Soul? When we experience not to find a specific answer but to continuously But which signals and interfaces are the best the performance of artists, as they pour their ask questions and conduct innovative and exper- indicators of where a robot is about to move life, emotion, passion, and energy into that one imental research that are crucial to envisioning or what it is going to do next? And how is the moment, we are deeply moved and inspired in the future of creativity. understandability of a CoBot related to trust and acceptance on the part of different human co-workers? This is where Cobot Studio comes in with new, creative methods. Kicked off in 2019, the three-year project focuses on the develop- ment of an immersive extended reality simula- tion for communicative team play scenarios with mobile CoBots. In the project’s first year, a prototypical virtual

Spaxels over the Danube; Photo: Gregor Hartl Fotografie Gregor the Danube; Photo: over Spaxels reality environment was developed that is on dis- play at this year’s Ars Electronica Festival and can be tried out by visitors. Wearing a state-of- the-art VR headset, users play interactive mini Prototyping for the first experiment series of CoBot games in which tasks such as organizing small Photo: Birgit Cakir / Ars Electronica Futurelab

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Cascade 8K Future Projects NHK (Japan Broadcasting Corporation) (JP), Ars Electronica Futurelab (AT)

Since 2015, NHK and Ars Electronica Futurelab to represent diverse styles of content: Ambient, have conducted joint research on the new pos- Information, and Communication. sibilities of 8K technology and its social and In the Ambient concept, viewers can experience cultural impact. Under the theme of Beyond the cascades of water, a natural metaphor for the ver- Immersify Frame — 8K Future Projects, we have created a tical orientation. Natural and digital particles flow Cutting-Edge Tools for the Next Generation of Immersive Media prototype for social togetherness in the 8K Platz and form complex streams, creating an extremely project, and a new scale of broadcast content in detailed and rich ambient scenery. In the Infor- PSNC — Poznan Supercomputing and Networking Center (PL), Spin Digital Video the 8K Life Scale project. As the next step, we mation concept, live-streams of NHK news are Technologies GmbH (DE), Marché du Film — Festival de Cannes (FR), explore new standards for the viewing experience presented in vertical formats to showcase a Visualization Center C (SE), Ars Electronica Futurelab (AT) in 8K Cascade. new design format for TV broadcasts. The for- In stark contrast to video, TV and movies, Virtual fairs and conferences. In addition, several guide- With the simple gesture of rotating a display by mat enhances viewer experience with enriched Reality (VR) applications promise experiences lines, which aim to make the tools and content 90 degrees, a symbolic shift from ”landscape information design. The Communication concept that are not only more intense but, above all, of the project imitable for content creators, were view” to ”portrait view,” we are reframing the is a more human-centric approach to Cascade, interactive and individual as well. To launch VR published. In June 2020, the project team pre- relationship between the human body and broad- where we reimagine the TV as a realistic window on its way to a huge consumer market share, a sented some of the developed content and tech- cast content. Displays and cameras ”stand up” in to our family and friends. The vertical orientation considerable amount of R&D work needs to be nologies one last time at a final live demonstra- vertical positions to accommodate human-scale provides a more natural frame for human com- done. That was precisely the mission of Immer- tion. The event showcased a demonstration of contents as a new standard of 8K technology. munication. sify, a European R&D consortium made up of highly immersive and interactive media consist- In Cascade, a series of installations with diverse The 8K Future Projects aims to bring 8K to the PSNC — Poznan Supercomputing and Networking ing of playback of newly created content with 16K 8K contents in vertical formats is created to public in innovative ways as the role of broad- Center (Poland), Spin Digital Video Technologies 360° video combined with spatial audio based integrate the 8K technology into our daily lives cast media expands Beyond the Frame in future GmbH (Germany), Marché du Film — Festival de on high-order ambisonics. It also included an 8K in new ways. Three usage scenarios are defined society. Cannes (France), Visualization Center C (Sweden) live stream from PSNC’s laboratories in Poznan, and Ars Electronica Futurelab (Austria). Since Poland, to Ars Electronica’s Deep Space 8K in fall of 2017, the EU-funded project has been Linz, Austria as well as a 360° live video stream dedicated to current and future challenges that from PSNC showing the technology behind the immersive media entail. The project researches stream and ambisonic sound production. Two live technical possibilities with regard to video com- demonstrations of some of the produced con- pression of immersive media and how immersive tent were then streamed live on YouTube via Ars media content and tools can be designed inter- Electronica’s Home Delivery program: The Great actively and promoted in the creative and media Pyramid in 3D and The Translucent St. Stephen’s The Translucent St. Stephen’s Cathedral, Photo: Johannes Pöll / Ars Electronica Futurelab / Ars Electronica Cathedral, Johannes Pöll Photo: St. Stephen’s The Translucent industry in Europe. The project team produced Cathedral — the latter being part of this year’s Ars around 30 immersive contents to demonstrate Electronica Festival as a special showcase at the the technical possibilities of the new formats and Deep Space 8K. to test, improve and evaluate the tools developed within the project. Live demonstrations of the You can learn more about the project and find out content, including 16K media playback and 8K about all content produced on the project website: https://immersify.eu/ live streams, made the project tangible not only for the immersive media market, but also for a This project has received funding from the European Futurelab Ars Electronica , Image: Cascade more general audience. Immersify was presented Union’s Horizon 2020 research and innovation programme at several festivals, cultural events, technology under grant agreement No 762079. 392 393 ARS ELECTRONICA / Ars Electronica Futurelab

Social Telepresence Collective physical experiences at remote locations by Stephan Feichter by Kyoko Kunoh

What are new forms of social interaction over humans. The Ars Electronica Futurelab and its Ars Electronica Futurelab and NTT Communica- Ars Electronica Center to come up with various distance? During the 2020 pandemic lockdown, partners research new ways to enrich one-to-one tion Science Laboratories, which is the research dimensions of the topic in the field featuring most of the world experienced social distancing. conversation, meetings of small groups and big laboratory of the Japanese telecommunications telepresence applications and interfaces, and Under these circumstances, digital social pres- gatherings over a distance. At this year’s festi- company NTT, are exploring a digital resonance thus deepen the research. Experiments con- ence in any form has become more important val, the Ars Electronica Futurelab will exhibit two that cannot be achieved with existing telecom- necting Japan and Europe will be planned, while than ever, as social interaction is crucial for us Social Telepresence projects. munications. collecting diverse feedback from national and Currently, there is an urgent need for a new global users. approach to developing telecommunications A recent work by NTT called Public Booth for technology used for social relationships. In the Vibrotactile Communication can be a reference current uncertain situation of the world, with for this research. physical and social distancing, it is necessary for Credit: Tele-mobility technologies to allow us to continue to feel, trust Planning: Junji Watanabe (NTT Communication Science by Peter Holzkorn and be present to each other. What telecommu- Laboratories, NTT Service Evolution Laboratories), Yutaka nication technology promotes sharing our social Kamamoto (NTT Communication Science Laboratories) presence? Production Cooperation: Richi Owaki, Takuya Ishikawa While the quality and ubiquity of audio- was suspended by the harsh effort to control a (Yamaguchi Center for Arts and Media [YCAM]), Kouta With the aim to promote multi-modal telecom- visual telepresence increased over the last two pandemic, everyone’s attention was suddenly on Minamizawa, Hirohiko Hayakawa (Keio University Grad- munication research in the future, this research decades, so did, paradoxically, air travel and per- the status and potential of telepresence tech- uate School of Media Design), Yoshihiro Tanaka (Nagoya carries out a series of the experiments at Institute of Technology) sonal mobility to attend meetings, conferences, nologies — and the question of how much of our gatherings, and exhibitions. When global mobility old kind of mobility we should strive to regain, considering its impact on our health and our planet. What parts of physical presence could telepresence replace in the future, and what new abilities could it add? What incentives will it need for its benefits to outweigh the perks of physical travel, and in which cases? In the Ars Electronica Futurelab, we want to foster discussion about this, and create prototypes with promising technologies. One device that offers an interesting form of abstracted embodiment is the Double 3 robot, a product that allows the user to navigate a remote environment with a kind of tablet on a pole; a video-conferencing call on the tablet display con- nects the two spaces in sight and sound. Beyond its original one-to-one use, its open architecture inspired us to start experimenting with potential remote experiences such as robot-based group visits or semi-automated streaming tours. Do not be surprised if the Double 3 joins physical visi- tors and video conferences at the Ars Electronica

Double 3 Robot, Photo: Ars Electronica Futurelab Ars Electronica Photo: Double 3 Robot, Festival 2020 in one way or another … Communication (2019) Vibrotactile Public Booth for @ICC NTT Complex R&D Research Photo:

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Ars Electronica Research Institutes

An initiative of the Ars Electronica Futurelab is Research Institute last year, Eveline Wandl-Vogt’s represented by the Ars Electronica Research Ars Electronica Research Institute Knowledge Institutes. This organizational form acts as an for Humanity ​and Werner Jauk’s Ars Electronica open membrane of the Ars Electronica, allowing Research Institute Auditory Cultures will also host closer collaborations with the academic world. programs at this year’s festival. After its first incarnation as an Ars Electronica

Ars Electronica Research Institute Knowledge for Humanity (AT) Garden of … Knowledge for Humanity Affordances of Place, © Elena Cologn Garden of … Knowledge for Humanity reflects on the most recent work by the Ars Electronica Research Institute Knowledge for Humanity, in its global and unique context bridging the gap between academic knowledge and socially relevant applications. In this years’ interactions, the mission statements of last year are introduced as live experiments that you can be an active part of.

The presented work is focused on the following Garden of … Knowledge for Humanity celebrates three core areas: the wealth of diversity, addressing various _ Digital humanism and critical reflections on formats and audiences, through: technology _ analogue canvases and interactive _ Knowledge for Emergency — COVID19 related visualizations COVID19 insights: mapping diversity and community, © Gabriel Carsenat experiments and interactions _ virtual, participatory interactions _ Accelerating /academic/ knowledge to reach _ speculative future design experiments

the Sustainable Development Goals Curated by Eveline Wandl-Vogt Berkman Klein Center for Internet and Society (US) This series of interactions is curated by Eveline Ars Electronica (AT) Harvard Art Musems (US)

Wandl-Vogt and uniquely designed for Ars Elec- Ars Electronica Research Institute Knowledge Harvard University (US) It reflects our approaches: tronica Festival 2020, especially against the back- for Humanity (AT) The Institute of Technological Ethics(AU) _ of Humanity Centered Design drop of COVID19-related virtualizations. You are Austrian Academy of Sciences (AT) NamSor(FR) exploration space(AT) Community Creates Mobillity (AT) (Federico Donelli) invited on a journey of discovery aiming to drive _ of art-based, experimental knowledge IACy (AT) Knowledge for Development Partnership (GLOBAL) social, innovation-based activism and to critically Virtual Silicon Valley Inspiration Tours(AT) British Council (UK) co-creation reflect on what we call “intelligence” (artificial The Business Therapist (AT) Arts Council England (UK) _ against a background of Open Innovation and human likewise) by stimulating you to join Gesellschaft für Digitale Ethik (DE) Anglia Ruskin University (UK) methods and practices / in science. the community of purpose that is Ars Electronica metalab (at) Harvard (US) Fondazione Bevilacqua LaMasa (IT) Research Institute Knowledge for Humanity. 396 397 ARS ELECTRONICA / Ars Electronica Futurelab

Werner Jauk Physical distancing does help to avoid conta- tualizations of once massive trends — everyday gion — yet a social and emotional closeness even culture presents itself as diversely differentiated What is music to ... across physical distance would be very helpful. cultures, as individualized self-sufficient human The transparency of envelopes of the body, its private / social It’s precisely for this emotional culture, with each culture and at the same time as a highly diverse body living its sovereignty independently and at and thus enlarged market area. / public spaces — garments and gardens: auditory spaces as the same time experiencing its democratic com- Representatives of such character-centered sci- emotional interfaces zones to an auditory culture of humanity mon ground, where music in the form of polyph- entific attitudes are affirmators of cultural devel- ony, the independence of voices in relation to opments determined by power — discourse analy- Introduction: each other, becomes a paradigm: “Polyphony is sis being one method of their control. the objectivation of the ‘we’” (ADORNO 1958). It is media art as an epistemological discipline, Music is considered a formalization of hearing. variable, but generally considered to be a body-re- The relationship to one another is hereby objec- that provides to the methodical paradigm of Hearing is a primarily hedonic form of interac- lated regulation of “privacy”, a space wrapping tified by tension and release. knowledge — symbolically externalized as a cul- tion of the body with the environment — move- itself as a shell around the body. Therein mechan- Popular music as “hot music” formalizes this pri- ture of symbolic form, experience and its exter- ment is heard “abstractly” as bodily “tension”. ical movements are primarily experienced in a mal form of sonic communication out of tension nalization as “body knowledge” — an alternative It is not the cause of the movement that is per- hedonic way. They are movements, whose mean- in the mass coexistence of individual needs by way out of the ideologically reshaped referential ceived primarily “indexically”, but the intensity, ing is regulated according to the “needs of the communicating the fundamentally same thing perspective of modern culture as a symbolic form and thus the proximity of the movement to the body” and only thereafter understood according for every body: physical as well as emotional (CASSIRER ), exposing multiple individual forms body — this then determining the tension of the to their semiological meaning. This distinguishes closeness through sound. This paradigm has to of a uni-shaped experience based on the com- body, expressed as behavior and communicated auditory spaces from visual spaces, generated by be carried into a human post-digital culture of mon human physicality. In contrast to symbolic directly. the body through its motion as a temporal series “all-at-onceness” (McLUHAN 1995). media of the representation of and information Apart from symbolic cultural references, apart of visual fields, hereby synthesizing realities. about corporality, media close to the body are the from “fashions”, both garment and garden serve Garments, just as gardens, are extensions of extension of immediate physicality. The sound of garments as transparent covers of the body and form the physical periphery and therein media of the It is also not about highlighting parallels in the socially emotional interfaces to the environ- body in social realms — mechanical movements What does pop music have to do with garments? manifestations of pop music and garments, the ment. Epistemological media art conveys them are not just perceived in a primarily hedonic way, Undisputedly, both are the primary means of extension of body tension within the sonic and not only through modal and medial transposi- but they are reinforced by these media. Music can communication within popular as well as every- textile membrane. From the expropriation of tions, through the insight of “standing in front be seen as a paradigm of these references, as the day culture. signs in the “semiological guerrilla” (ECO 1967) of it”, but via immediate physical experience. dominant experience of movement (as sound), What does pop theory have to do with the theory to the “amplification” of physicality as a demand Therein, media become reinforcing extensions of produced by tension and experienced as ten- of garments? In the understanding of cultural of the individuality of the human condition within the hedonic body, whose tension-related nature sion — the mechanical body becoming the direct science, both are discussed as signs, hereby the body. The aim is to find an “explanation” for of interactions with the environment ensures instrument of its tension: in its phonetic state simplified in discourse to “fashions”, referring the semiological process, in order to experi- its survival and creates cultures. The primarily and behavior regulated by tension due to the to something else with a collectivizing and dis- ence the formation of secondary meanings out hedonic interaction of the body in the listening “affordance” of stimuli in the physical and social tinguishing function; in the context of historical of their primary implication, and its meaning for room and its mediatization in music serve as a environment. Cultures that are shaped by these and thus often historicizing theory, with the refer- the body, i. e. to re-listen to the beginning, which paradigm for emotional communication in human “needs of the body” are human cultures. This ence to certain times that are considered synon- then forms dynamics of “fashions” in the practice cultural spaces — in both physical and virtual habitat design is to be transferred into artificial ymous with cultural phenomena. Icons, heroes, of referential use. Such knowledge exposes the realm, in the natural coalescence of mechanical worlds as “converged realities”, where the domi- innovators, creators of works, which are most ideological use of nature for the purpose of pow- and hedonic behavior. nance of mechanical movement is extended by its often considered “opuses”, are representative erful cultural control. In social interactions, bodily tension is essen- hedonic tension as the basis of its form, thereby of these times, their powerful imprint in media It is not about the use of mechanical membrane tially determined by the spatial proximity and its overcoming digital modernity into a post-digital and distribution over time and space being not protection of the uniformed body within a military desirability — studies show that physical distance world of hedonic interactions: a human world only a tool of their heroism, but their merit — all of and legal state and its mechanical extension on this contradicting an understanding of everyday from people above 4 meters is experienced as according to the paradigm of analytic listening to the “bike” of the “young rebel”, it is not about culture. Unless one would assume, that there is contactless. Up to a distance of 1.5 meters, we movements, according to their meanings for the the use of the mechanical art of weaving as a dig- no self-formation in democratic processes and experience a distanced togetherness, whereas body, as “auditory culture” (JAUK 2019a). nified symbol of high culture via punk’s counter that the masses would need a leader to exemplify below that behavior turns into either attention It is not surprising, while at the same time culture, it is not about glorifying the splendor of and mediate life via media; Stars lead the way of the well-nourished high class body, threatening or aversion, depending on desirability, to be reg- expressing the importance for people, that life as role models of neo-liberal, economy-dom- muscles with their power and brutal strength, ulated by eye contact. in times of restricting the corona pandemic, inated politics. “Stars” become increasingly true- the colorful clothing playing around the range The social area of intimacy is the distance that lies the term social distancing is being used, to-life via social media platforms, are references of the gold-trimmed and well-oiled body, with within arm’s reach. These results are ­culturally where actually physical distance is implied. to highly differentiated referential re-contex- the relentlessly urging underscore of ostinatos of

398 399 ARS ELECTRONICA / Ars Electronica Futurelab mechanical beats and rapping. It is not about the a tilt here. A self-absorbed late avant-garde, living an artifact of movement — sound excites without mediatized representation as well as the media symbolic appropriation of the “undercut” either, out the expropriation of signs at the study desk knowledge about its cause, without its indexical perception ultimately lead to this emotional state trivializing the convenient helmet hairstyle of man in a progressive bourgeois “referential” game, quality referring to it. Pop music is dominated by via the bodily experience. The physical basis of (and later woman) as a mere fashion statement, ignores the cultural dynamic, which is more likely sound, its direct form of communication defining such emotional interfaces is to be explored over while having fostered social bonding within “Hit- coming from its primary meaning than the one garments and social areas of life, with scenes as and above their metaphorical relationship in ler Youth” as its symbol of discipline, which today sought through the predominant ignorance about pop gardens. This signal-like stimulative quality order to be understood –- an old iconic medium became an ensign of the militant and autocratic its secondary meaning. has been addressed early on by semiotics as a regaining meaning in a post-digital human cul- political systems of Far Eastern technocracies of It is about the self-presentation of the prepubes- “signal”1, generally disappearing in the theoret- ture due to its evolutionarily stimulative effect for the digital ages with their low-cost multimedia cent body in the cheerful sound of Early Sixties ical structure of cognitivism in the 1960s and every body. While visual representations assume world of a “handsome every-body” culture as youth culture, about the nature of the body and giving way to the dominance of the understand- the imagination of motion through emotion, their exaggeration. Hyper-stylizing also its role the tenderly covering garments and sounds of ing of self-referential synthesis and analysis of their auditory perception is immediately physi- model, Western culture with its belief in progress, the hippies. It is about the raving body, interact- pop culture in the early post-modern era. This cally perceptible — as a cover both surrounding where it is in turn re-appropriated by Western ing excitedly in technical nudity to the sounds understanding is explicitly found in pop music and touching the body. Compassionate emotion bodies calling themselves free — however, it is in of “acoustic driving”, about physical arousal by as a belated avant-garde, it is tradition in the is demonstrated by “acoustic driving effects”, all these cultural signs where counter culture / the tempo and “sharpness” of sound. It is about understanding of fashion theory. This approach co-agitation manifests itself in in micro-move- expropriation is interwoven in the reception with the cool technique of exaggerating “hot” facial postulates, that post-modernism does not derive ments to the dynamic drive of music, finally for- ignorant mainstream glorification. expressions and gestures by applying make-up immediately from modernity, but rather develops malized in dance. Musical performances are the It is also not about mechanical extensions of the and fashion and the technical exaltation of the in its circular re-use; it is a notion of desk per- cultural forms that are closest to the body — even body via musical instruments, starting with the vocal expression featured in 70s Glam and 80s petrators, as Cohn-Bendit claimed. Hedonism is if they have sometimes restricted the body as the “horn” up to motion tracking, and via clothing, Postpunk scenes, about plural self-design of a the alternative to shaping life in all possible, not basis of life for the purpose of powerful control starting with the ammunition belt and evolving human body — with cultural phenomena becom- only conceivable forms of postmodern culture — as over their “consumers”, and denied as the symbol through mobile devices and their increasing min- ing transgressed by distinguishing and not exclu- the reception of “mille plateaux” has taught us in of carnality and its political seducibility, they are iaturization towards wear-ables, measuring all sively gender-relevant roles in favor of being practice. For no dancer will stay still on the floor fundamentally media of the body, “amplifying” it. physiological stats of present day’s body down human. and analyze cognitively reconstructing music and They are the center of 20th century body cultures, to its excretions — for the purpose of training, It is about tracing that pre-cognitive signal-like its ramifications, comprehensively arranging into fundamentally shaped by the affirmation of the for survival in and the control of viral pandem- communication “beyond semiotics” (JAUK 2013), a semiological continuum. “Four to the floor” is body, while occasionally interrupted by phases ics. What is initially processed in clothing, will upon which political systems rely more than upon a term for the communication of an experience, of undemocratic uni-formation. increasingly be implanted in the body and even- symbolic manifestos, it is about the sound of the namely to move physically as an experience, to Finally they emphasize the fundamentally com- tually stored away together with genetic informa- words, the music, the physical appearance and “move to the groove”. First of all, experience is mon shape for all people and respect human tion (cf. RICHARD 1998). its playground, the direct communicative embod- independent of understanding and precedes life in its physical form and to recognize nature It is indeed about the sonically performative iment of attitude, about what Chaplin attested to it — Winckelmann mentions garments as the in a human culture2. Music and fashion can be self-expression based on the immediate sen- the great dictator without saying a word. While “echo of the body”. The drapery is discussed in ­understood as mediating this physicality in social sation of one’s own body and the emergence of in the art of rhetoric their rulers put them before the aesthetics of plastic art/sculptures as a medi- and cultural creation, beyond the reduction of the signs via the semiological-linguistic reduction to the word, their culture still teaches the primacy ator of dynamics and inner emotion. body to its mechanical skills and its extensions rationally “cognitive” processes, representations of language. Describing immediate physical Its visual perception takes the body along, in the techniques and rationality of visual arts, of physical presence, the iconic replication of the communication as the language of the body and thereby putting it in a mood, in turn transferring derived from the mobility of the body with the index of bodily tension, towards social communi- sound (of music) is a “cultivating” trivialization: to the sculpture — creating a physical and spiritual phylogenetically younger development of vision. cation, it is about the cultural localization through I can contradict language as a volitional system of vitality in the interactive situation, which was also This physicality of fashion and music belongs the nature of primary meanings. signs, I am part of the bodily interaction! politically used for the creation of communality in to the hedonic body, regulated by tension in a There may lie a danger in direct physical com- The aim is to trace those expressive forms of the 18th / 19th century. Here, an emotional inter- homeostatic way in its ability to survive — stimu- munication as the basis of signs, namely that in communication close to the body, that the body face of collectivization is being described, leading lating every explorative behavior of bodily com- reception, removed from the knowledge of rein- expresses through its tension through the per- to a bodily experience itself through imagined munication, their communion, for the survival of terpretation in a semiological guerrilla, it will be ception of the outside world, especially of move- physical interaction, to “sympathy” in the original humans, of mankind. this basis, the primary meaning, that will cause ment as meaning for the body. This primary sense of compassion; while the idealistic view This primal force cannot be excluded from the tension; reinforced by the fact of its usage as a meaning can merge into the designation. Describ- focuses on the spiritual, “emotional contagion” digital worlds — the auditory space, the all-at-on- “fashionable” universal template, therefore to be ing popular culture as indexical (DIEDERICHSEN (HATFIELD 1994) explains this phenomenon pre- ceness of “abstract” movements around the lived out in everyday life. The “undercut” will not 2014) reduces this experience to mere symbol- dominantly through physical imitation. Both the body, it is the cover of the human being as a be understood as an “opposing attitude” to an ism/significance and its linguistic naming by an attitude, but worn out the bodily experience as an intermodal transposition from hearing to seeing. 1 A „signal” is „more primitive than the symbol [...] “ (Morris quoted in. Nöth 1990, p. 112), it „triggers some reaction on the part of the receiver“(Sebeok 1985, p. 121). Piaget calls the function of a stimulus a „signal“, if „certain aspects of the object“ intensification of the discipline of nature — lived Experimental studies confirm the abstract quality (Piaget 1962, p. 278) are „linked with the immediate action“ (ibid. p. 19). A signal-like character is „a physical phenomenon en masse, a semiological guerrilla will experience of perception of sound (CARAMIAUX 2011) as which provokes reactions in mechanisms and organisms, without being the cause of these reactions” (Pazukhin 1972, p 41). 2 Finally knowledge as well as culture emerge out of the “driven” nature of the body which because of this interacts with the environment, as “enactivism” postulates (MATURANA 1987). 400 401 ARS ELECTRONICA / Ars Electronica Futurelab

“sensorium”, as an interface to the physical and for the body — between the intimacy of the family and relaxation” (SCHENKER 1935), raised by the out of emotional tension — here gestures don’t social environment. It has an adaptive effect on home and the anonymous publicity of tabooed code system of notation to a mode of “referential serve as iconic references to practices, here the homeostatic regulation to achieve a state of privacy. thinking” (RIEMANN 1914/15) and thus enabling it’s the excited body acting as the center of the tension that is not dangerous to life and always The behavior of people in digital worlds gener- the artwork as a volitional composition of codes design. It must have been pop culture that pre- newly forming — physically shaping, socially com- ally corresponds to their behavior in the physical for sounds. Its adequate reception in reading sented the innocence of the adolescent body in municative, collectivizing, culture-forming. realm. The digital space is an image of the physical comprehension was demanded (by Adorno), as a its puerile nature within the fashion of the early corporeality covered with a lot of make-up — its paradigm of bourgeois emancipation over “edu- Sixties. It is this culture that, with the hedonic intimacy being “artificial”, a para-physical image cation” — emphasizing the distinguishing culture play of the excited body, does not use the electric The sound of the pleasure garden and predominantly of a symbolic linguistic nature. of music as a symbolic form. guitar as an instrument in a fixed registration to What does music have to do with the garden? After the dominance of reading symbolic and see- Sound-enveloping music, on the other hand, the convert pre-written codes into (cultural) sounds, Apart from the use of music for social and intimate ing iconic signs physicality has to be reinstated; predominant characterization of popular music, but rather “plays” with the shaping of feedback events within the garden as cultivated nature3 for consequently — according to the paradigm of seduces politically — is precisely the point where sound through the excited body– or rather: the the pleasure of humans, hereby already indicat- physical sound experience as perceiving moving Adorno (from the personal experience of the sound is generated from the excited body and ing the context where land- and soundscape meet events around the body — gardening, the green Third Reich and his studies of pop in America) recipients are moved into this physical movement in human life, the garden is yet another covering envelopment of the body, becomes the human addresses the basal power of music from its ori- through emotional contagion. What Hendrix’s of the body following the paradigm of the sound intimate social listening space around the body, gins, the emotional sound and behavior and its playing stands for is a paradigm of the hedonic space; it is the playful interface zone to the nat- in the physical sense as well as in its extension “amplifying” mediatization in pop music. For him bodily interface of post-digital worlds connecting ural and social environment. as virtual gardens. Virtual gardens as transi- it is mass seduction and socially untrue. Yes, it the body with virtuality — a world of AI augmented Sound and clothing are envelopes of the body, tion zones between intimacy and social inter- has been and continues to be used politically, it by AE (JAUK 2019 b). The reading of referential they protect intimacy and are an interface to a face zones enrich the anonymous battlefield of is the paradigm of generating image, and at the understanding of pop culture has a restorative social world. Where the house is in between4, pre-structured social platforms, where people same time increasingly the paradigm of emo- effect here: it is not the index of a movement that the garden can be seen as an extension of these adhere to the tight environment of their design- tional interfaces. Therein popular music takes cognitively refers to and evokes movement, it is personal shells. Apart from its extension of dwell- ers. on a new meaning, not that of seduction, but of the stimulus that implies the same tension for ing for physical protection, beyond the continu- Garden and garments communicate emotional the potentiality of body-adequate emotionality as all bodies, while the context may determine the ation of self-sufficient agro-cultural lifestyles in bodily sensation in the extension of intimacy in the basal force to recognize and experience every evaluative quality — thereby defining proximal a times of need as well as a source of increasingly social spaces. This interaction communicates explorative, social and aesthetic behavior. This culture of media close to the body. regional supply and in alternative cultures, where primary meaning as a meaning of the perception creates a new form of body culture — a culture of Out of the function of sound in the explorative the “quest for autarchy” in political independence / experience for the body, setting the body in humanity by and for every body. interaction of bodies with the environment often stands in conflict with states striving for a tension, expressed in its posture / movement — emerge the possibilities, that sound perception larger union, the garden interfaces between pro- its mediatization being primarily gestural and Hedonic communication — adds into the interaction as a specific feature — its tection of intimacy and social interaction. “conveying” a framework of meaning, especially medial form can reinforce this basic physical and the nature of sound Its design as a cultural living space of leisure time about what this movement fails to imply (BEHNE human function — but first it has to be considered as well as a showpiece of high culture is set for 1982). Music as the mediatization of hearing/lis- None of the established arts is more rooted in in a world dominated by vision. Post-digital cul- controlling nature, either in its artificial geomet- tening, as the abstract experience of tension by physicality than music. Committed to the bour- ture performs the shift from a world view con- ric design or in the creation of a cultural image movement around the body setting it in motion is geois ideology of idealism, to emancipation over sisting of mechanistic references, which sees the of nature — both being powerful cultivations of the paradigm of mediatization of emotional inter- education, literature plays the game with sym- body as a measure of all things “in ratio” with the nature. It is a physical space for movement as action, of the primary meaning of perception for bolic forms, theater embodies this iconically and environment, towards a hedonically “abstract” well as a social meeting space, whose importance the body — it is hedonic interaction. While gar- fine art formalizes seeing in the image as a refer- physical world experience, that perceives physi- has been demonstrated by social distancing as a ments are primal and gardening is increasingly a ence. Architecture and gardening are subject to cality as the center of all behavior “in - tension”. basic playing field of human proximity. This play- cultural game of those basal stimulative qualities physical constraints and the struggle for the com- Soundgesture-research is the young scientific ing field is shown in the mixture of human behav- in their iconic use, music is, despite all efforts mand over nature as its control in either French or discipline investigating the phylogenetically ior as a social being and at the same time in the to achieve cultural emancipation from this pri- English tradition. Fashion design pursues a culti- older form of hearing and the corresponding acceptance of intimacy as a peculiar necessity mal quality, ultimately a game of bodily “tension vation of the driving nature of instincts or, on the body-environment interaction. “Sound-gesture” other hand, revolts against it as an instrument of is the deeply physical form of communication for

3 In modern times it was musicalized by musicians wandering through an “english garden” playing together over physical distances political powers. humans and animals alike, that shall not be con- (Stockhausen) or deconstructing the idea of modern culture by technical overlaying the translocation of the soundscape of nature Nevertheless, theater is motivated by the expres- sidered meaningless in times of linguistic as well to the soundscape of its cultivation in a central-city-park (Fontana). sive dance that gave a boost to gesture research, 4 Despite the idea of integrating the house into landscape on the one hand and the idea of a “smart home” for people on the other as symbolic sign communication. Neoliberal poli- hand it was “a living piece of architecture” (J. JAUK 2017) presented at AE-festival 17 which adapted its shape due to its own the wordless play with the body and its move- tics in particular utilize those pre-cognitive forms needs in interaction with the physical environment (changing during day and year) and at the same time due to the needs of the ment, while the visual arts (e.g. of Rainer) paint of interaction to convey images, from “emotional” bodies living in this house. Thereby a homoeostatic optimization of all “participants” of the B-E-I is achieved — thus functioning as a natural kind of social interface as well. 402 403 ARS ELECTRONICA / Ars Electronica Futurelab experiences to the generation of economic and movement around the body by its sound. Sound imagining of movement around the body and the embodiments learned by physical damping and (with that) political leadership, that bourgeois is an artifact of movement (JAUK 2014, 2018). expression of its meaning through tension for the due to a localization imagined via a “conceptual modernism once considered “socially not true” Its relatively slow speed of propagation through body — it is the impression of movement and the metaphor” in the vertical dimension, psycholog- (ADORNO 1958). the air leads to modulations in the perception, expression of being moved. ical connections between “sharp“ and therefore On the other hand, it is precisely this form of com- carrying information about the distance from the Biosemiotics explain the emergence of (cultural) “close“ as well as sounds coming from above munication which is naturally “democratic”, it is body, its position to the left and right of it and meaning from biological processes of perception are experienced as exciting, in contrast to less “every body” immanent to and understandable also in front of or behind it. Irrespective of such through their mediatization, it is “the branch of “sharp” and less “loud” and therefore distant and for all people — deliberately set symbolic signs embodiments learned from the experience of the semiotics dealing with the organic part of the at the same time unexciting sounds. have a distinguishing effect and exclude people. body with the physical properties5 of the environ- semiosphere” (MAGNUS 2020, 649-650). This “Sound-gesture” is a communicative event, not While deliberately set symbolic forms do equal- ment, the musically dominant perception of pitch form of perception is instrumentalized and medi- referring to or informing about what is expressed, ize, the hedonic body is by nature “equal”. is a directional perception as “illusion” lacking a atized in music, its instrumentalization of expres- but directly stimulating / exciting the expressed Communication “beyond semiotics” (JAUK 2013) physical equivalent. It is essentially correlated sive behavior and sound — as well as the coding tension within the receiver and leading to a phys- is a non-referential physical interaction with stim- with the “sharpness” (BISMARCK 1974) of the of the image of the expressive behavior within ical commonality, to become “communis”. Direct uli from the environment communicating directly sound, partly related to pitch; the higher the pitch, the medium “notation” — in addition to “analog” bodily communication can be explained through through emotional contagion. It happens “in ten- the greater the “sharpness”, the stronger the singing and playing, the coded composition of the “emotional contagion”. In doing so, the bodily sion” out of bodily tension. It gets its meaning perceived sound position “above”. This linguisti- codes for sounds, the work, was hereby made behavior is first appropriated, the tension associ- from the survival value through tension and the cally enhanced phenomenon is explained by the possible (JAUK 2013). ated with the movement being stimulated. thereby excited behavior. merging of two concepts. STEVENS (1965) exper- Expressive behavior communicates the meaning Perception is an activity, a “body-environment-in- imentally demonstrated that low pitch sounds are of what is perceived for the body as tension, as Communication beyond semiotics teraction” initiated by the “affordance” of the perceived psychologically with high “volume” but “activity”. Perception is perceptual activity, ulti- Like sound-gestures can be found in music, its stimuli of the environment (GIBSON 1982), their with less “density”, whereas high pitch sounds mately bodily behavior. This perceptual activity composition as well as its reception, primary “intensity” being basal, stimulating the body to correlate with less “volume” and high “density”. is “intentional” — however: in the pre-Enlight- meanings are the base for fashionable and sym- active behavior (affection and aversion, respec- In the form of a “conceptual metaphor” (LAKOFF enment sense, as it were in the primary mean- bolic use of garments. The hat can be used as tively). This describes “explorative behavior”, 1993), the concept of gravitation is transferred to ing: the body is “in tension”. It was the reinter- protection of the head, as an extension of the which, controlled by homeostasis, aims for a these psychological qualities (apart from physical pretation of the term in the Enlightenment that evolutionary fur remnant “head hair”, at the medium level of tension. The “new experimental equivalents): high pitch sounds of low volume are “clarified” this physical perception activity as a same time being a decorative form emphasizing aesthetics” (BERLYNE 1974) regards aesthetic located in the experiential concept of gravitation cognitive process. According to this notion, a vol- this protective function. In its primary meaning, behavior as a variety of that explorative behav- “above”, the opposite applies to low pitch sounds. untary assumption of a “viewpoint” transposes it pulling the hat can imply entering into a social ior — medium-level “affordance” through medium This illusion of spatial location and dynamic mod- into the domain of the signifying seeing of ratio- interaction without protection and with trust level intensity and novelty values is supposed to ulation sound movement has different “exciting” nal behavior, as a view of things “in ratio” with –ultimately becoming a secondary sign, it can lead to medium level tension and thus to the high- effects for the perceiving person. In general, regard to the mechanical body as a “mechanical” be a symbolic gesture of social norm, a greet- est level of affection. high intensities, with “sharpness” also increas- sequence of “shocks and thrusts” (LEVY 2000), ing. The interference of signal and index (WIRTH “Sound-gesture” as a concept is a descriptive ing physically, are associated with sounds close where we imply the thinking of “causality” (as a 2007) shows the basic interest of this theoretical model of this pre-cognitive form of percep- to the body above the center of the body at ear generalization of proper movement in the visual discussion: to look for the primary meaning as tion, it is the auditory interaction of the body level — such sounds have at same time a highly perception). direct bodily interaction and to explore its gen- with the environment. As a phylogenetically exciting effect. Corresponding physical behavior Expressive behavior is part of the tension in its eral natural communication, as a communion in older form of perception, it differs from see- “in tension” goes hand in hand with this. It acts “cause”, it can be seen in the observing percep- the making. It is not impossible that ultimately, ing by the location-changing perception activ- (almost) in synchronicity with breathing as a tion of physical activity as an indexical sign — nev- ­sign-like meanings will emerge as social norms to ity that is connected with seeing and puts the result of muscular tension and thus motion — the ertheless it primarily communicates in the form be read indexically, even if they are “understood” body “in-ratio” to the environment; rational body performs this tension, leading to immediate of “emotional contagion” (HATFIELD 1994), in the mainstream in a symbolic way. The the- understanding and furthermore semiological and instrumentalized sound production. the imitation of behavior and internalization of ory of primarily signal-like perception of primary signifying is associated with seeing, while hear- Sound interacts with the body by enveloping the corresponding tension associated with this meanings of sound and their medial “amplifica- ing is a hedonic sensation of “abstract” events it with intensity, it is perceived primarily in an behavior. The parallel two-stage form of com- tion” in pop music, and therein the massive and (CARAMIAUX 2011) without designating their abstract way by humans without signifying its munication can also be found in sound percep- intense triggering of emotional contagion, can be origin. Sound-gesture is the imagination of origin as an index. Sound-gesture describes tion, in the sound-gesture, as an imitation of transferred to the basis of the design of garments and gardens. The bodily tension in social inter- 5 Left-right positioning is extracted by volume — and phase shifts of sound arriving from a source at both ears, while distances are imagined movement of sound (as an artifact of primarily recognized by measuring the amplitudes of higher frequencies; sound from sources further away is dampened by prop- movement) around the body and the internaliza- actions and their emotional (mutual) contagion agation through air, this particularly is true for higher partials that are weaker in amplitude — sound becoming duller and overall is intensified by movement in proximal sound lower in volume. The slight forward tilt of the ears allows for recognizing the relationship between direct sound and first-reflections tion of the tension of this movement as mean- (from behind the body) and hereby separating the perception of front and back. Specific bands of direction (BLAUERT 1974) occur ing for the body. Both due to body knowledge / and body-fit garments. Political systems of rule (together with the latter) by the acoustic shadow of the head. This enables localization of a sonic motion passing above the head. 404 405 ARS ELECTRONICA / Ars Electronica Futurelab create and evaluate “fashions” as stimulants of Post-digital culture as auditory culture Ultimately, sound-gesture is the paradigm of the thus rendering it useless (BAUDRILLARD 1981). corporal punishment: body culture is on the one “sign formation”, that denotes the mediatization of Post-digital culture recalls humans as a hedoni- Sound gesture is the bodily co-execution of that hand the harmony of the bodies under control and expressive behavior, which, in addition to the stim- cally regulated living being — regulated by striving imagined sound movement and at the same time uniform design, on the other hand body culture is ulative “contagion”, can be consciously viewed by for a homeostatic state of tension. “New experi- the expression of its meaning for the body. This the respect for physicality and its basal needs in recipients as a medium / sign for the (preceding) mental aesthetics” (BERLYNE 1974) is the theory, immediate form of communication “works” in an individual manifestations. expression — as a cultural sign based on the nature that, after the separation of art and science and emotionally contagious way. As a mediator, how- These attitudes collide during the last gasp of of a human and his/her homeostatic regulation of art and life, has ultimately called for the union of ever, it can now refer to the contour of a melodic modernity and the growth of a plural post-mod- tension and thus life — a cultural life of this natu- the two in the 20th century. It formulates a con- phrase as an iconic (and conscious) physical ernism in the Sixties. Physicality of sound and of ral kind is a human life. Music and garments are tinuation of the activation theory, which regards expression. The graphic representation of this ges- garments and pleasure gardens of the youth are cultivated extensions of hedonic interactions of aesthetic as a generally explorative behavior, that tural movement has led (systematically viewed) to seen as animalistic and barbarically dangerous the primarily tension-regulated body, the pleasure at the same time gains knowledge from the experi- the first notation system, the “neumes”, a hint of to the culture. Limiting the pleasure of (surviving) garden its physical social zone of interaction. In ence of body-environment interaction by reducing the choir master conveying the melody figure to life is the highest form of human humiliation, a contrast to symbolic signs (as represented legi- “uncertainty”: controlled by activation of the body the disciples. The gridding of the neumes in the creeping “death penalty” — it works by instilling bly in cultural-historical semiological mediations), through intensity, intensity is reduced by inter- time and frequency domain has paved the way to fear, by restricting the “needs of the body” or via they primarily mediate by way of stimulation. Pri- active behavior — generally speaking, the infor- today’s notation. Graphic notations in the avant- the hope for the fulfillment of bodily needs in mary meaning arises from the nature of regulating mation content of stimuli of all kinds determines garde and the digital processing of sound follow whatever is referred to as post-earthly paradise. the body. In a kind of direct mediality, primary their complexity. Complexity is also considered this path “forward back” to the digital handling A respect for the equality of bodily needs cre- meaning itself becomes a symbolic sign in the as cognitive intensity, which, like any other quali- of physical expression (JAUK 2013) — conducting ates democratic individualization6 — the step form of overtension. Presenting the experience of tative stimulus intensity, has an activating effect. having been its representation since the era of into a post-digital and individualized culture of overtension is the dominant “media” of a culture Aesthetic behavior is thus exploratory and “trains” polyphony, today it is the interface for the “arti- emotional interactions overcomes such primitive of experience, a neoliberal image culture, with forms of survival playfully by optimizing the level ficial” visualization of dynamic sound in natural mechanisms of “gouvernementalité” (FOUCAULT tools for achievement as indexical “logoi”, and of tension and shaping environments — physical human expression. 2004) — for these are “barbaric”. social media as their distribution. As an ostensive and cognitive worlds as well as their media exten- It is not only music, however, where sound-ges- Science is developing a respectful attention to paradox of experience-driven society, the physi- sions. Hearing is a primarily tension-based inter- ture serves as a mediatization to the development symbolic forms derived from natural processes cal “production” of tension becomes increasingly action with the environment. It is the enveloping from playing to music, assembling, composing the in biosemiotics. Even early semiology had the- more important than physicality. Thus the natural information about movement and its meaning for “work”. In a post-digital culture, the auditory is a matized primary meaning, yet the idea of culture primary meaning as homeostatic regulative of life the body, carried out as “sound-gesture” in its paradigm of action after overcoming the mechan- as a means to overcome nature and its deliber- becomes a symbolic sign through its rewarding interaction behavior. This paradigm of a hedonic ical body in digital culture (BAUDRILLARD 1981) ate design have superseded this way of think- effect in social value — for example, relaxation interface is mediatized and cultivated in music, in robotic form, as a hedonic regulation in the ing — eventually leading to the theory of signs through a maximized tension while acquiring the design of garments and gardens (in addition to “all-at-onceness” (McLUHAN 1995) of data com- being restricted to symbolic signs (ECO 1967), relaxation (PFALLER 2011) and the demonstra- the functionality of protection and usage). While pressing space and time by increasing the speed ultimately creating clarity and excluding liq- tion thereof. being examined in the sciences as cultural “bias”, beyond the humanly comprehensible up to a fren- uid zones between signal, index and its iconic Basically, mass reception builds on the uni-form, as symbolic forms based on linguistic semiolog- zied standstill (VIRILIO 1992): we seize events tracing as gestural forms. Hereby even interfer- not in the sense of military equalization of groups, ical concepts, these interaction zones actually existing around us due to their “affordance”, ences between primary meaning and secondary but on the basal human condition, on primary communicate primary meaning and are physical, motionless, without changing our own location. as indexical reference are avoided, or rather: meanings. It imposes no distinction hereby reduc- hedonically regulated culture created from nature. This emotional form of expression imagines phys- withdrawn from a modern cultural evaluation of ing its consumption, but relies on universal valid- Hence garments and gardening are extensions of ical movement in the outside world and expresses willful designation of nature and thus its inten- ity, on physicality — postulating (DIEDERICHSEN hedonic interactions of the primarily tension-reg- its importance for the body; thus it is a paradigm tional feasibility, classified into a post-modern 1996) and thus defining a broader body culture. ulated body that have become culture. Their sym- of emotional controls of and human interactions attitude of natural life — the body is the limit It finds its paradigm in life in the form of audi- bolic value acquired from nature can reinforce with machines, as well as of interpersonal com- (JAUK 2017). From its experiences it forms the tory interaction that has grown phylogenetically this stimulative quality, namely tension as bodily munication and its transfer to collective human “environment” (Uexküll’s “Umwelt”) as a model before vision: body-environment interaction as tension, regulating all behavior according to the generation of virtualities — it enriches information (mutually) determining the interaction with the an abstract perception of intensities of environ- human measure of survival. This basis is increas- processing with emotional “decision making” pro- outside world (cf. KULL 2010). mental stimuli all around the body before their ingly regulating not only life in physical and social cesses and augments AI with AE. signifying recognition. environments, but also in virtual worlds unifying

6 As some kind of paradox neoliberal politics is economically based on the body´s needs and at the same time it restricts this Now, mediatizations are indeed extensions of the people and their extensions as a human culture. diversity of individualism more and more by legal regulations of social interactions excluding “privacy” and creating “acting mod- body. Digital culture, in the wake of the idealis- This is a culture of analyzing events around the els.” A democracy of “law and order” overrules the ethics of the body formalized in the concept of XPhi which is close to the theory of new-experimental aesthetics. Both go together in exploratory behavior as any interaction is grounded in the needs of the body to tic rational thinking of modernity and the unlim- body according to their meaning to the body — achieve a homoeostatic level of “tension” — “law and order” incapacitates the self-regulating system “life.” ited belief in (not merely technical) feasibility of presenting a post-digital culture as an auditory, the Sixties, has extended the mechanical body as a human culture. 406 407 ARS ELECTRONICA / Ars Electronica Futurelab

References 1  Baudrillard, J. (1981). Simulacres et simulation. Paris. and art. In: Out of the Box. The Midlife Crisis of the Digital Hana Zeqa, Laura Thaçi, Elisabeth Mirnig & Werner Jauk (2020)  Behne, K.-E. (1982). Musik — Kommunikation oder Geste? Revolution. eds. Hannes Leopoldseder, Christine Schöpf, in: Klaus-Ernst Behne (Ed.): Gefühl als Erlebnis — Aus- Gerfried Stocker, Berlin, pp. 410 — 417. druck als Sinn, (Musikpädagogische Forschung Bd. 3),  Jauk, W. (2019 b). AI and AE — what is music to AI ... sounding garments & Laaber S. 125-145. The sonic performative body, a paradigm to live life in  Berlyne, D. E. (1974). “The new experimental aesthetics”, post-digital culture. In: Out of the Box. The Midlife Crisis sound-gardens: emotional in: Studies in the new experimental aesthetics, Daniel of the Digital Revolution. eds. Hannes Leopoldseder, Berlyne (ed.), Washington 1974, pp. 1-26. Christine Schöpf, Gerfried Stocker, Berlin, pp. 218 — 227.  Bismarck, G. von (1974). “Sharpness as an attribute of  Jauk, W. (2013). “Beyond semiotics? Music, A Phenom- interface zones as auditory spaces the timbre of steady Sounds”, in: Acustica 30 (1974), pp. enon of Mediatization. The Extension of the Hedonistic 160-172. Body and Its Communicative Aspects”, in: New Unknown the transparency of envelopes of the body  Blauert, J. (1974). Räumliches Hören, Stuttgart. Music. Essays in Honour of Nikša Gligo, Eds. Dalibor Davidović & Nada Bezić, Zagreb, pp. 407–421. as social interfaces amplifying the hedonic body  Adorno, Th. W. (1958). Philosophie der Neuen Musik [1947]. Frankfurt am Main.  Jensenius A., R. et al. (2017)” The musical influence on people’s micromotion when standing still in groups”, in:  Caramiaux, B. et al.(2011). “Gestural Embodiment of I. An Every Body Culture to tension triggered by environmental stimuli as Environmental Sounds. An Experimental Study”, in: NIME’ Proceedings of the 14th. Sound and Music Computing their meanings to the body. Even early semiotics 11, Oslo. Conference, pp. 195-199. Human Virtualities — Extending the  Kull, K. (2010), “Umwelt and modelling”, in.: called it “signal,” a “phenomenon which provokes  Diederichsen, D. (1996). Stimmbänder und Abstimmun- Needs of the Body gen. Pop und Parlamentarismus. In: Eds. T. Holert & M. The Routledge Companion to Semiotics, Ed. P. Cobley, reactions in [...] organisms, without being the London, pp. 43-56. Where, through “robotics,” digital culture Terkessidis, Mainstream der Minderheiten. Pop in der cause of these reactions”(Pazukhin 1972, p 41). Kontrollgesellschaft, Berlin, pp. 96-114.  Lakoff, G. (1993). “The Contemporary Theory of extended the mechanical body — overcoming the Metaphor”, in: Metaphor and Thought, Ed. Andrew Ortony, While symbols are (political) distinctive media,  Diederichsen, D. (2014). Über Pop-Musik. Köln. body –, post-digital culture extends the hedonic Cambridge, pp. 202–251. because of the need to have knowledge about  Eco, U. (1985). Für eine semiologische Guerilla [1967 body — where visual culture turns auditory by Vortrag auf: Vision ’67, International Center for Communi-  Lévy, P. (2000). “Die Metapher des Hypertextes” in: their referential meaning, signals are “human,” Kursbuch Medienkultur. Die maßgeblichen Theorien von respecting the “needs of the body”. cation, Art and Sciences. NY]. In: U. Eco (Ed.), Über Gott that is, their meaning is common to every “body”. und die Welt, München, pp. 146-156. Brecht bis Baudrillard, Eds. Claus Pias et al., Stuttgart, Media theory is the theory of how any extension pp. 525–528. In summary, it can be stated: tension is the  Foucault, M. (2004). Geschichte der Gouvernementalität of (wo)men (McLUHAN) extends “perception” as (I, II), Frankfurt am Main.  Magnus, R. u. Kull, K. (2020), “Roots of Culture in the “drive” of any exploratory behaviour. It is the Umwelt”, in: The Oxford Handbook of Culture and Psy- body-environment-interaction / B-E-I (GIBSON  Gibson, J, J. (1982). Wahrnehmung und Umwelt, “affordance” of the environmental stimuli; it is chology, Ed. Jaan Valsiner, Oxford, pp. 649-661. 1982) for better (optimized) “survival.” While München. intensity, which brings the body “in tension” to  Maturana, H. u. Varela, F. (1987). The Tree of Knowledge.  Hatfield, E., et al. (1994). Emotional Contagion, “idealistic” cultures exerted discipline over The Biological Roots of Human Understanding, Boston. interact with the environment in order to create Cambridge. the hedonic body, pop-cultures “amplify” the  McLuhan, M. (1995). The global village: der Weg der a homoeostatic level of arousal and, through it,  Jauk, J. (2017). a living piece of architecture. In: ars Mediengesellschaft ins 21. Jahrhundert (translation: hedonic body by technologies extending it “close electronica 17 / AI Artificial Intelligence — Das andere culture. C. P. Leonhardt, introduction: D. Baake). Paderborn. to body.” As technological amplification mediatiz- Ich, eds. Hannes Leopoldseder, Christine Schöpf, Gerfried This is how we interact with physical and social Stocker, Berlin, p. 103.  Nöth, W. (1990). Handbook of Semiotics, Bloomington. ing hearing, popular music becomes paradigmatic Pazukhin, R. (1972). “The concept of signal”, in: Lingua environments. Intensity indicates closeness of  Jauk, W. (2014). ‘Intuitive gestural interfaces/adaptive  of close to the body garments & gardens struc- Posnaniensis 16, pp. 25-43. occurrences to the body. In physical situations, environ- ments and mobile devices/apps: Playing music tured by “pleasure” — that is, extending bodily and the musical work as a role model for personalized  Richard, B. (1998). Die oberflächlichen Hüllen des Selbst. motion — heard all around the body — induces tension to amplify “pleasure”. Hedonic hearing gestural interaction in social environments’, in: ICMWT Mode als ästhetisch-medialer Komplex. In: Kunstforum “tension”. In social interaction, crossing zones Bd. 141, pp 49-95. generally is the benchmark for the interaction of International conference on Mobile & Wireless of privacy / intimacy induces “tension”. Exper- Technology Congress-Book, Beijing, pp 280-284.  Pfaller, R. (2011). Wofür es sich zu leben lohnt. Elemente bodies with environments creating human vir- materialistischer Philosophie, Frankfurt am Main iments show that there are interaction-spaces  Jauk, W. (2017). Der Körper ist die Grenze: tualities: an auditory culture. Any kind of “aes- das Ich in Wissenschaft und Kunst.  Piaget, J. (1962). Play, Dreams, and Imitation in Child- around the body: About twice the height of the thetic” behaviour is explorative. It is body-envi-  Aspekte einer anderen Empirie. in: Gender — Kul- hood. New York. body marks the social interaction space, the  Riemann, H. (1914/15). “Ideen zu einer »Lehre von den ronment-interaction because of the “affordance” tur — Management. Relatedness in und zwischen Wissen- range of the arms covers the intimacy-space. schaft und Kunst. Transdisziplinäre Erkundungen, eds. Tonvorstellungen«“, in: Jahrbuch der Musikbibliothek of the sensorial perceived intensity of stimuli in Peters 21/22, pp. 1–26. Finally, the feeling of “tension” within these Doris Ingrisch et al., Bielefeld, pp. 79 — 96. the environment. This also makes it “intentional”  Jauk, W. (2018). Basic instincts ... Kultivierung /  Schenker, H. (1035). Der freie Satz, Wien. social distance-zones is modified by the duration in the pre-enlightenment sense, before bodily Kulturen des auditiven Körperwissens. Auditives  Sebeok, Th. (1985). Contributions to the Doctrine of of eye contact; reinforced over 2 sec. Signs. Laham hedonic processes of tension-relaxation shifted Wissen — implizites Körperwissen aus der Erfahrung des Although enormous cultural differences exist, körperlichen Hörens bewegter Natur zur Orientierung in  Stevens, St., S. et al. (1965). “Loudness, a Product of to (relational) thinking through the dominance physikalischen und virtuellen dynamischen Umwelten. In: there is a natural bodily basis for the borders Volume Times Density”, in: Journal of Experimental of seeing, which just meant being “in tension”. Auditive Wissenskulturen — Das Wissen klanglicher Praxis, Psychology 69/5, pp. 503–510. of the body and its interface-zones. Garments, Today, biosemiotics explains the emergence of Eds. Bernd Brabec de Mori & Martin Winter,  Virilio, P. (1992). Rasender Stillstand. München. and gardens, shield intimacy from — and play Wiesbaden, pp. 115 — 135. signs from those “primary meanings,” and refers  Wirth, U. (2007). “Die Interferenz von Indexikalität und with — entry into natural and social environments.  Jauk, W. (2019 a). Ars Electronica Research Institute Performativität bei der Erzeugung von Aufmerksamkeit”, auditory culture: Sound-gesture research and emotional in.: Mediale Gegenwärtigkeit, Eds. Christian Kiening & interfaces. Epistemological media art between science Martina Stercken, Zürich, pp. 95-107. 1 Sincere thanks are given to Florian Gokl for his support in the development of software and Barbara Haspl for her support in organizational issues. 408 409 ARS ELECTRONICA / Ars Electronica Futurelab

The Sound of Music & Auditory Culture expressing the bodily tension, the e-motion of formalizing it symbolically, to hearing being inside Science & Arts — Methods of Hearing is like an envelope covering the body, the intimacy of the body by drapery and variable an occurrence-space experiencing it bodily. To Re-Constructing Realities “functioning” as an interface: sound is an arti- morphs echoing the tension of the body. Gardens get knowledge goes from “Kulturwissenschaft” Epistemological media art is interested in knowl- fact of motion, the ear as an extension of the skin are further extensions of the body to the social to epistemological media-art. edge. While science represents the presence, experiencing this “vibrating” motion. and natural environment — enlarging the private While “Kulturwissenschaft” focuses on the cul- media-art experiences the presence. While sci- Sound is an artifact of motion. Auditory controlled space, creating a playing ground, extending inti- ture of symbolic representations of interactions, ences tries to get knowledge by externalising body-environment-interaction “perceives” macy to social space — in contrast to the structure biosemiotics focuses on the upcoming of mean- experiences through codes that represent pres- motion as “vibration” all around the body setting by force of law; the organized, symbolic social ings because of bodily meanings, “the branch ence, media art externalizes bodily experience /putting the body in tension, in e-motion. At the structures of a public space. Garments, like gar- of semiotics dealing with the organic part of the through bodily experience (communicating bodily same time, the body expresses its tension as the dens, are interface-zones of the body into natural semiosphere” (MAGNUS 2020, 649-650). experiences directly by experiencing the pres- meaning of this perception to the body produc- and social environments that create them. Their In “Kulturwissenschaften,” (popular) music, as ence) to reach body-knowledge. This, however, ing expressive voice and expressive behaviour. symbolic communication is “fashion,” which cre- well as the culture of garments and gardens, are happens within the same experimental design: Instrumentarisation and mediatisation of this ates specific forms by referential processes of primarily discussed as self-referential systems; varying a “variable” to observe the effects on auditory controlled B-E-I leads to music. culture. Despite this symbolic use, there is a basic as “fashions” in time and space. Both have a another, which is to be “explained”; observation First it was the instrumentarisation of the bodily natural benefit of these “sounding” envelopes for common basis, the nature of the body; both are in controlled labour-situations replaced by real- behaviour, as bodily imitation of the impression of human life. mediated “products” of needs of the body. Even life bodily experience in social public spaces. motion of sound around the body and the expres- This “hearing” kind of bodily interaction is com- the need to be protected and nourished more and Research is a part of reality-construction. sion of its meaning to the body; its tension, the mon to every body; it is the natural basis democ- more became shaping envelopes of the hedonic sound-gesture, which showed the melody-con- ratizing the culture by / for every body; while body. Protection of the physical body became its III. A Piece of Art & Science. tour to singers of a clerical choir in the Middle culture, as symbolic form, is a sociopolitical dis- decoration: garment became fashion, nutrition Experiencing Body-Knowledge Ages. Its projection to the plain led to the first tinctive medium. became pleasure, guarding the home became graphic-notation, the “neuma”. Its gridding in gardening the pleasure-garden. Nevertheless, its and its Extension time- and frequency-domain led to the notation, theoretical exploration didn’t cease to be a game (Pop-)Music as Paradigm. making possible the com-position of codes for II. Cultural Studies between with signs referring to specific cultural contexts To “explain” and act culturally with natural bodily sounds, the prescribed Werk. This process of “Kulturwissenschaft” & (re-)creating “new” realities (varying in closeness tension as meaning (of sound) to the body and mediatisation is a process of extending the body, to, or domination, of nature.) its extension is to formalize and communicate Epistemological Media-Art. and a modal turn from hearing to seeing, by this The project sounding garments & sound-gardens body-knowledge. from experiencing “tension — relaxation,” from Culture as Symbolic Form & is about the basis of this semiotic “point of view.” Auditory behaviour as hedonic B-E-I is the para- hearing sounds to understanding codes of sounds Culture out of Nature. Where do signs come from? Is there a natural digm for any explorative behaviour and its exten- by “relational thinking”. Enriching a modern culture of seeing and the basis to culture, a pre-semiotic communication sion. The interaction of the body with the environ- While notation is converted to sound through extension of the mechanical body through robot- “beyond semiotics” (JAUK 2013) based on the ment to create garments and gardens is a hedonic instruments, digital codes allow us to mathe- ics in the digital age is overcoming the (mechan- nature of the body? This explores the hedonic extension of the hedonic body. These extensions matically generate sound by technical conver- ical) body by the hedonic interaction of hearing; basis of rational “symbols” signifying point of amplify the tension. Auditory interaction is not sion, finally shaping the sound by bodily tension a necessary step, following the transgression of view. The specific, phylogenetically older “hear- only the basis of hedonic interaction; sound also directly. This step forward is a step “backwards” the mechanistic paradigm and the overcoming ing” that focuses on the tension of any behaviour externalizes this tension to make it not under- to a music close to the body, structured immedi- of the mechanic body, where post-digital culture referring to the “needs” of the body is the basis stood, but experienced. ately by bodily “tension-relaxation”. Despite pro- converges the hedonic body with virtualities. As for any explorative mechanical interactions. This Hypotheses: in extending the body close to the ducing music, this behaviour is a hedonic inter- pertains to the needs of the body, this culture will is the basis of an Erlebnisgesellschaft,as well as body, music — as well as fashion — are primarily face perceiving motions even as it expresses and be a human culture. for the turn from the mechanical-digital overcom- extending the hedonic body by mechanical instru- amplifies their e-motions. Through this, the concept of knowledge and meth- ing the mechanical body to the post-digital inte- ments. How the mechanics of the body “move” is ods to reach it changed: although the externaliza- gration of the hedonic body and, through it, to an given by the tension of the body expressing this The Sound of Garments & Gardens tion of perception is aspired to, its formalization “auditory culture” as new humanism. meaning to it im-mediately and communicating it Sound-space is an interface-zone to the skin is turned from symbolic representation to imme- Hearing, mediatized and, through this, formalized through “emotional contagion” (HATFIELD 1994), experiencing motion. Garments are extensions diate presence. Methods turned from seeing and as music, becomes the paradigm for interaction copying the behaviour and internalizing the ten- of the skin, feeling the environment as well as standing in front of an object to understand it, to in creating a digital humanism. sion. The same can be said for “sound-gesture”.

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REFERENCE BOARD MOVING TOP DRESS REFERENCE BOARD Inspiration from textile manipulation MOVING TOP DRESS The structure garment is made by polyester strips that are transparent and interwined. They will lookMOVING a little TOP DRESS Inspiration from textile The structure garment is made by polyester strips that are transparent and intetrrwineanspad. Theyre willnt look so aan little under garment will be made also from transparent fabric, so we can see the layers of fabric and textile weaving techniques transparent so an under garment will be made also from transparent fabric, so we can see the layers of fabric mesh fabTheric stru stExampleripsctu erexamples garmen t ofis made red b ythread polyester st rips that are transparent and interwined. They will look a little manipulation and underneath. This will serve as the cover for the body but also as an aesthetical elemeundent.r neath. This will serve as the cover for the body but also as an aesthetical element. placed within a range, where attention — or rejec- amplitude as synchronous to temporal dynamic transparent so an under garment will be made also from transparent fabric, so we can see the layers of fabric MOVING TOP DRESS Garment covers upper part of the body to enable the performer to walk and mGovae.rment covers upper part of the body to enable the performer to walk and move. embroidery on the strips The garment is inspired by the tensions created from stress stimuli and how our body reacts or contracts during Example of of red thread textile weaving techniques The garment is inspired by the tensions created from stress stimuli and how our body reacts or coundentracrtsne duath.ring This will serve as the cover for the body but also as an aesthetical element. the experience. embto rrepresentoidery on the str ipsblood to cells or The structure garment is made by polyester strips that are transparent and interwined. They will When look someone a little is close or the sound is made, the outside layer shkrinks and gathethers e inxpe di ereiennt pacret, imit. ating Garment covers upper part of the body to enable the performer to walk and move. tion — inducing behaviour is initiated to “pro- aspects of sound and music, these parame- muscle contraction and the feeling of being uncomfortable. represent blood cells or maybe transparent so an under garment will be made also from transparent fabric, so we can see the layers of fabric When someone is close or the sound is made, the outside layer shkrinks and gathers in di erent paThert ,ga maybeimitrmeatingnt is inspi nervousred by the tsystem.ensions created from stress stimuli and how our body reacts or contracts during underneath. This will serve as the cover for the body but also as an aesthetical element. nervous system. muscle contraction and the feeling of being uncomfortable. the experience. Garment covers upper part of the body to enable the performer to walk and move. When someone is close or the sound is made, the outside layer shkrinks and gathers in di The garment is inspired by the tensions created from stress stimuli and how our body reacts or contracts during duce” tension in the participants. In addition to ters are detected by strain gauges measuring the experience. muscle contraction and the feeling of being uncomfortable. When someone is close or the sound is made, the outside layer shkrinks and gathers in di erent part, imitating muscle contraction and the feeling of being uncomfortable. its expression through garments, this tension is the movement of a person’s chest. If sufficient Example of the shape covering arms and the body Example of manipulation with the strips externalized and amplified as sound (following movement is detected, the garments feature is the basic theory of “sound-gesture”) to create ­triggered, and the garment of multiple woven fab- an emotional-social sound-garden of pleasure, rics reshapes the natural extension. At the same How fabric looks when it’s gathered. Because the strips are wider, they create more volume and this will enable a more dynamic- communicating body-knowledge. time, a signal is sent to the central workstation, transformation during the pull / Servo motors / others components mesh fabric strips examples movement. Finally, any kind of media “creates” specific where sound and light externalizes and amplifies Example ofT ofh redreads thread f rom motors attached to fabrci for pulling embroidery on the strips to represent blood cVellsest or mstruaybec ture holding motors and other components ner(undevous systrem.neath) mediated realities. How are these different real- the body-tension.

Esther Schuylenbergh Example of the shape covering arms and the body Esther Schuylenbergh Example of manipulation with the strips ities experienced? This amplifying externalization of the different The extension of the hedonic body is varied kinds of mediatisation of bodily tension in gar-

mesh fabric strips examples How fabric looks when it’s gathered. Because the strips are wider, mesh fabric strips examples through two qualities of garments expressing ments through sound and light makes the gar- Example of of red thread they create more volume and this will enable a more dynamic- embroidery on the strips to transformation during the pull / mesh fabric strips examples Servo motors / others components Example of of red thread represent blood cells or maybe movement. embroidery on the strips to Tnehreadsrvous from s moysttem.ors attached to fabrci for pulling bodily tension in social interaction in their specific den a sound-garden and brings knowledge as Vest structure holding motors and other components represent blood cells or maybe (underneath) nervous system. “medium”: a) the dynamics of drapery by hand- a bodily experience, as body-knowledge; being

Example of the shape covering arms and the body Example of manipulation with the strips crafted tailoring-techniques and b) the dynamics part of a real-life-situation. sounding garments & Example of the shape covering arms and the body Shape reference / design by: Krystyna Kozhoma Example of manipulation with the strips Shape reference / design by: KrystynaExample of theKozhoma shape covering arms and the body of morphing by digital interface-techniques. sound-gardens​ studies the hedonic social inter- Servo motors / Example of manipulation with the strips Example of the shape others components woven fabric with repeating shapes & textures; textile covering arms and the body a) the dynamics of drapery (Elisabeth Mirnig) action even as it creates a cultural situation. This Hwovenow fabric looks fabric when it’s gwithathered. repeating shapes & Threads from motors manipulationBecause by the Matières strips are Ouverteswider, Example of manipulation textures;they cre atextilete more volume attached to and this will enable a more dynamic- with the strips operationalizes the dynamics of tension by focus- follows post-modern and post-digital concepts of transformation during the pull / fabrciServo mo torsfor / others pulling components manipulation by Matières Ouvertes How fabric looks when it’s gathered. movement. Because the strips are wider, VestThreads structure from motors attached holding to fabrci for pulling they create more volume ing on the drapery of a loose body-suit with open- “science & art” experiencing and creating reali- Vest structure holding motors and other components and this will enable a more dynamic- (underneath) motors and other transformation during the pull / Servo motors / others components components (underneath) ​ movement. ings for the natural interfaces, externalizing the ties as cultural process, as human life. Threads from motors attached to fabrci for pulling Servo motors / others components Vest structure holding motors and other components Threads from motors attached to fabrci for pulling (underneath) dynamics of (e-)motion through the dynamics of Peggy Osterkamp Osterkamp Vest structure holding motors and other components (underneath) clear “lines” (as it is simplified in motion tracking systems), making tension visible. Winckelmann calls garments “the echo of the body”, their ten- References: Garments and gardens are hedonic interfaces to ences of the “effect” on bodily communication to sion. By means of tailoring techniques and the use the social spaces following the paradigm of audi- be experienced as body-knowledge. of the imagination in the fine arts and sculpture,  Gibson, J, J. (1982). Wahrnehmung und Umwelt München.  Hatfield, E., et al. (1994). Emotional Contagion, tory space. Process of Operationalization: based on the the- garments amplify the body echoing its tension. In Cambridge Experimental Art Setting: in some kind of exper- ory of the development of music as the media- addition, they “modification” of the body-shape  Jauk, W. (2013). “Beyond Semiotics? Music, A imental setting, we vary the kind of extension of tisation of bodily tension in interaction with the through mechanical tools (e.g. belts, etc.) Phenomenon of Mediatization. The Extension of the the tension of the body (to indicate emotional (social) environment, and according to the aims b) the dynamics of morphing (Hana Zeqa & Laura Hedonistic Body and Its Communicative Aspects,” in: New Unknown Music. Essays in Honour of Nikša Gligo, qualities in a social interaction). This kind of medi- of an epistemological media-art, the project has Thaçi) operationalizes the dynamics of tension by Eds. Dalibor Davidović & Nada Bezić, Zagreb, pp. atisation of bodily tension is varied, to experience to make this process of mediatisation through “extending” specific body parts of “garments,” 407–421. the effect on communicating bodily expression. garments felt. based on natural ex-tension of the body associ-  Magnus, R. u. Kull, K. (2020), “Roots of Culture in the So we have a more “physical” extension of the Despite a labour-experiment, tension is induced ated with “emotion” in specific (social) interac- Umwelt,” in: The Oxford Handbook of Culture and Psychology, Ed. Jaan Valsiner, Oxford, pp. 649-661. tions. Based on studies of the “acoustic driving expressive body vs. a more “artificial” extension in a real-life-situation by bodily interactions  Pazukhin, R. (1972). “The concept of signal,” in: of the expressive body, for the (possible) differ- of critical closeness. Social interaction takes effect,” which shows respiration frequency and Lingua Posnaniensis 16, pp. 25-43.

412 413 HEADLINE / Subline

ARS ELECTRONICA SOLUTIONS Artwork Michael König/The by Sun Photo: © Centro de Ciencias Sinaloa © Centro Photo:

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!

414 415 ARS ELECTRONICA / Ars Electronica Solutions

INNOVATION & CREATIVITY

We scrutinize and tinker, think and create, design between the human brain and a computer, inter- and test — sometimes with such outstanding suc- weaving real and virtual scenarios, and creative cess that we can see right away that the results artificial intelligences. are suited to many different applications. That’s We use Ars Electronica’s decades of experience how prototype development can lead to prod- with technologies, as well as the spirit and cre- ucts that can be customized to a client’s specific ativity of Ars Electronica Solutions, to create needs. And that closes the process chain from custom-tailored solutions depending on the cli- idea and vision to prototype development and ent’s target groups and environment. Thanks to ultimately to an innovative product. The vari- this balanced mix of cutting-edge and traditional ous interfaces we build into our productions are technologies, our work boasts intuitive interfaces intentionally futuristic — direct communication and creative storytelling.

ESA Ф Experience

Over the last six years, Ars Electronica Solutions has been working with the European Space Agency (ESA) and the German Aerospace Center (DLR) on several Earth observation

exhibitions. In 2018, the Ф-Experience, an interactive exhibition, was created for ESA’s DLR/ESA by Contains modified Copernicus Sentinel data (2019-20), processed establishment in Frascati, Italy. This new centre presents ESA’s vision and missions in a way that is understandable to the public. More recently, ESA and DLR have started the Ф-Experience-Evolution project to enhance the exhibition with new visions and The Sentinel 5P satellite of the European Coper- 40–50% drop in concentrations compared to the ­state-of-the-art technology. nicus fleet shows a significant drop in concen- same period in 2019. The drop is a consequence trations of atmospheric nitrogen over Europe in of the isolation measures to reduce the spread of March–April 2020. Over some cities, there was a the Covid-19 virus. 416 417 ARS ELECTRONICA / Ars ElectronicaHEADLINE Solutions/ Subline © Oliver Elias © Oliver

Ars Electronica Solutions was commissioned to After various phases of work — workshop, con- create the so-called “Cubo Negro“ (Black Cube), sulting report, planning, realization, roll-out and a multi-dimensional, interactive presentation training — the “Cubo Negro“ was finally put into and experience space with wall and floor projec- operation for the test phase in December 2019. tions in 8K, based on the Ars Electronica Center’s Its successful opening followed in January 2020. original “Deep Space 8K“.

DEEP SPACE

CUBO NEGRO © Oliver Elias © Oliver Centro de Ciencias in Culiacán, Sinaloa

Since its opening in 1992, the Sinaloa Science Center in Culiacán has been one of the most important meeting places for the conveyance of information, science and technology in northern Mexico. For the first time in 25 years, the building was renovated, redesigned

and the exhibition concept revised. With the vision of generating an immersive environ- Brownwig © Scott Artist Impression, ment for contemporary knowledge transfer in various dimensions of emotional, sensitive Deep Space as a highlight: The Museum of Military­ In the course of the new construction in ­Cardiff and physical learning, the plan was born to integrate “Deep Space 8K” as one of the main Medicine (MMM) facilitates public engagement (UK), a Deep Space similar to the one in the ­ attractions of the new Science Center. with the history and development of the Army Ars Electronica Center in Linz will serve as an Medical Services. attraction for the public. 418 419 ARS ELECTRONICA / Ars ElectronicaHEADLINE Solutions/ Subline AUSTRIA@EXPO DUBAI The Austrian Pavilion

The first world exhibition in an Arab country starts in October 2021. Over 438 hectares between Dubai and Abu Dhabi, three pavil- ions will be built to represent the themes of sustainability, mobility and opportunity. Among the 192 participating nations, Austria will be represented with the motto “Austria Makes Sense”. Together with querkraft, bleed and büro wien, Ars Electronica Solu- tions was responsible for the concept of the event spaces and will implement them in the next phase for the World Expo.

The innovative pavilion architecture, Solutions © Ars Electronica designed by the Austrian team of architects “querkraft”, works with intercut clay cones that are cut at different heights, resulting in different light and airflow openings that transform the interior of the pavilion into a sensual landscape. In this trendsetting inter- weaving of architectural tradition, modern building concept and the latest technology, media art installations communicate with the atmosphere of the interior to challenge and enliven all human senses. © Ars Electronica Solutions © Ars Electronica © Wirtschaftskammer Österreich © Querkraft, Bleed

420 421 ARS ELECTRONICA / Ars ElectronicaHEADLINE Solutions/ Subline AUSTRIAN STANDARDS Austrian Standards celebrates 100 years anniversary © Ars Electronica Solutions © Ars Electronica

The individual installations designed by Ars their surrounding framework are represented as a Electronica Solutions are part of a larger overall neural network. At the photo station, anyone can picture, which is ensured by finesse in content, become part of the family of Austrian Standards. stringent visual language and well thought-out In the elevators there are screens that present placement. corresponding standards or animated informa- A sculpture in the shape of an infinite triangle tion depending on the movement of the lift. welcomes visitors to the foyer. The three legs of Additional installations that continue the design the sculpture represent past, present and future language developed specifically for Austrian and are made of three different materials, by Standards include an interactive water pool, an means of which the historically first standards interactive wall print and an interactive display are represented (ÖNORM, EN, ISO). Norms and case.

With this exhibition, Austrian Standards’ 100 years of history will be put into focus and the standards and norms which surround us in everyday life but are hardly noticed will be staged. Markus Wipplinger Markus © Solutions © Ars Electronica Solutions © Ars Electronica

422 423 ARS ELECTRONICA / Ars Electronica Solutions SAMURAI ART MUSEUM GLOBAL SHIFT Berlin Bregenz

Ars Electronica Solutions conceives and realizes The impact of various technological achieve- together with project partners the new Samurai ments on our society is often the subject of con- Art Museum in Berlin Mitte for the world-famous troversial and passionate public debate. From the collector Peter Janssen. For decades, Janssen new digital infrastructure to earth observation by had been collecting one of the world’s larg- satellites and the data that we humans collect est Samurai collections. The new Samurai Art every day, Global Shift is showing an excerpt of Museum will use the latest media technologies the current state of our living environment with to open up the collection to new target groups. a special focus on Vorarlberg. © Ars Electronica Solutions © Ars Electronica Solutions © Ars Electronica

HUMBOLDT FORUM ROSENBAUER Berlin Linz

Ars Electronica Solutions is developing a soft- Since 2014, Ars Electronica Solutions has enjoyed ware for the Humboldt Forum in the Berlin Pal- a partnership with Rosenbauer International AG ace that will make the recordings of the famous in the fields of trade shows and events. The focus music-ethnological archives — Berliner Phono- is on the immersive and interactive communica- gram Archiv and Lautarchiv — artistically acces- tion of Rosenbauer’s competencies in the fields sible to the public. The Humboldt Forum will be of innovation and digitalization for specific target a unique place of experience and encounter in groups. the heart of Berlin’s historic centre. A place with a special history. A place of culture and science, of exchange, diversity and polyphony. Spreebalkon und Spreeterrasse, Entwurf 2014. und Spreeterrasse, Spreebalkon mit FS HUF PG Stella Franco © SHF / Architekt: © Ars Electronica Solutions © Ars Electronica

LAGERMAX THEATER DER WELT Straßwalchen Düsseldorf

On the occasion of the celebration of the 100th As part of the international “Theater der Welt” anniversary of Lagermax, a staging of the history festival in Düsseldorf, Ars Electronica Solutions and future visions of Lagermax and the logistics is curating and staging the program Gloomy and industry is planned in the form of a roadshow Glamourous — Weltfoyer After Dark — featuring through ten countries. Ars Electronica Solutions female DJs from around the world. The program is designing and developing interactive installa- featuring 13 female musicians from all continents tions, using creative technologies like AR, for an is a statement. It offers a broad overview of the innovative brand experience. bandwidth and creativity of female artists in the originally male-dominated electronic music scene. © Ars Electronica Solutions © Ars Electronica Theater der Welt Düsseldorf 2020 der Welt Theater Neue Schauspiel GmbH c/o 424 425 HEADLINE / Subline

ARS ELECTRONICA EXPORT 2020 artists, researchers and creative technologists and their knowledge in the context of a curatorial practice n / Quadrature (DE), © Design Societyn / Quadrature the Unknow of Positions

Ars Electronica Linz has always been interested in international cooperation and partnerships, but This makes us more than a mere international outreach organization. With the help of external partners since 2004 this interest has been expressed through its own special brand: Ars Electronica Export. in joint efforts, Ars Electronica Export enables constant further development and critical reflection Conceived with an international mindset, Ars Electronica Export was able to actively develop world- of content from the media arts and contemporary sciences, promotes artists and creative partners in wide cooperation requests. While in the early years the focus was mainly on requests for exhibitions, these fields, and can contextualize and convey content in a curatorial manner that individual artists this has recently changed to include additional consulting activities. Over the years, Ars Electronica’s and researchers are only just beginning to provide. knowledge of art in the context of the digital world has increasingly been inquired about, reflected upon Due to the Corona pandemic, Ars Electronica Export has also had to rethink some of its strategies for and visualized in joint forms of presentation. In addition, it was precisely in the process-oriented arts collaborating with partners scattered around the world. We are particularly pleased that we were able at the interface to the (natural) sciences, and in artistically researching practices, that we gained our to process almost all inquiries and orders through a coordinated combination of video conferences, experience and know-how, which are appreciated by partners in academia and the sciences as well conventional telephone calls or short message services and various platforms for mood or whiteboards, as by companies worldwide. This tendency toward interdisciplinary art forms is not a new thing for which led to a positive result for the people involved. In addition, we concentrated more on prepara- Ars Electronica, but it has been enjoying greater attention for some time. In particular, Ars Electronica tory measures and mediating support as well as consolidating work and are convinced that we can Export has succeeded not only in treating and highlighting these interfaces, but in understanding how use these experiences for our partners in upcoming activities — whether it is consulting, conception or to cultivate, nurture and promote them while respecting and learning from the cultural diversity that production for exhibitions, screenings or performances, for new forms of residencies and competitions, network426 of partners brings. or for general developments of new formats. 427 ARS ELECTRONICA / Ars Electronica Export

Deutsches Hygienemuseum Dresden Esch2022 — European Capital of Culture Two-part workshop Workshop / Consulting / Exhibition

predictive analytics, a curatorial framework will Esch2022, the cross-border area in the south of social change together with Esch2022 and in be jointly developed in the first workshop. A sec- Luxembourg, reflects its status as a busy inno- association with other partner institutions. ond workshop concretizes the meta-themes of vation hub: from a former metalworking indus- Workshops and discursive settings will be incor- the exhibition on scientific and artistic exhibits. try, the region has developed into a center for porated into the conception of exhibitions and In this cooperation, mediation as a method of future-oriented knowledge and new creative into artistic participation processes to offer the knowledge exchange, which takes place not only technologies. Ars Electronica Export was invited opportunity in Esch2022, as a cross-border during the exhibition visit, but should also be to participate in the capital’s main theme REMIX region, to question the conventional understand- understood in the run-up to the exhibition and CULTURE in order to actively shape cultural and ing of Europe. afterwards, will be tested as a joint effort.

Since January 2020, Ars Electronica Export has been involved in workshops with the Deutsches Hygiene Museum in Dresden. This involves pre- paring an exhibition for the museum in Dresden in 2021 that deals with the topic of artificial intelligence and presents the necessity of human beings at the center of and as the starting point for deliberations on the subject. From historical insights and computational tools to the latest

Tabakalera in San Sebastián ArtScience Residency Program Workshop / Consulting / Residencies enabled by Deutsche Telekom

The Tabakalera is a former tobacco factory in the This year marks the beginning of a new coop- Art Collection Deutsche Telekom on contempo- Basque city of San Sebastián, Spain, which has eration between Ars Electronica Export and rary art from Eastern Europe, the new residency been transformed into a center for contemporary Art Collection Deutsche Telekom: a three-year will be dedicated to artists from this region, who culture. Since December 2019, Ars Electronica Artists-in-Residence Program aimed to foster work at the interface between art, technology Export has been advising the program manage- an interdisciplinary exchange between artists, and science and who are particularly interested ment of the Tabakalera on a new strategic repo- research and industry. The first residency is in researching the social impact of technological sitioning of the Hirikilabs, an open laboratory planned for 2021. In keeping with the focus of developments. for digital culture and technology, located in the open library of the cultural center. The possibil- ities of Hirikilabs will be expanded with the help and constantly developed in exchange with the of local knowledge carriers from the International knowledge and work of international artists and Physics Center and the Basque Culinary Center researchers.

428 429 ARS ELECTRONICA / Ars Electronica Export

Residency program enabled by Ministry of Culture, TOKYO MIDTOWN: School of the Future Festival Kingdom of Saudi Arabia in TOKYO MIDTOWN, Tokyo, Japan

One of the Saudi Ministry of Culture’s key objec- are fundamental to this. Through the residency This year’s School of the Future Festival — a Musashino Art University (JP); Fashion & Tech- tives is to support and foster creative practi- program, Saudi artists and technologists will be cooperation between Ars Electronica and TOKYO nology, University of Art and Design Linz (AT); tioners by providing them with opportunities able to learn from and co-create with their peers ­MIDTOWN — took place from February 20 to 24 https://www.tokyo-midtown.com/jp/event/ and platforms through which to hone their talents from around the world, pushing the boundaries 2020 in Tokyo, Japan. The second edition of this school_future/english/english.html on the international stage. Collaborations with of what is possible in the converging space of art, event was an extra-curricular place where visi- world-leading institutions such as Ars Electronica technology and research. tors are invited to think about our future society together with artists, companies and universi- ties at exhibitions, performances, workshops and talks. Dappi, which means “shedding” in Japa- nese, is the theme of this year’s festival. The topic includes discussions about new perspectives Matsudo International Science and Art Festival and roles of technology-supported societies and Citizens of the Future individuals, rediscovering and reflecting yourself, breaking free from self-limiting beliefs and the unstoppable adaptation of social rituals in a soci- Matsudo International Science Art Festival is an vision, taking action on future issues, and resil- ety that is constantly changing. annual festival held in Matsudo City, Japan. Inno- iently surviving the uncertainty of the 21st cen- vative artists, scientists, and researchers from tury. Through exhibitions, workshops, and talks, During the five festival days, a total of 130,000 around the world come together to present their we create an agora of citizens, prompting dis- visitors took part in 36 events, and 368 media latest projects at the event. cussions on citizen science and creating social reported. The following artists and artworks were The festival aims to connect art, science, and awareness of our environment. The future of cod- presented: LIMINAL, Louis-Philippe Rondeau nature, and is held in the historic ­architecture ing, prototyping, media, governance, aging, and (CA); Alter Ego (Version II), Moritz Wehrmann and landscape of Tojo-tei, and Tojogaoka life was presented in the festival under the theme (DE); I Wear the Dog’s Hair, and the Dog Wears Historical Park. of Citizens of the Future. My Hair, AKI INOMATA (JP); What a Ghost Dreams The theme of this year’s festival was Citizens of The project was realized under the artistic direc- Of?, h.o (INT); Revolutionary 20xx! Tool Kit, Ai the Future — citizens with their own ideas and tion of the Ars Electronica Futurelab. Hasegawa (JP); La parade engloutie, Guillaumit and Les Plasticiens Volants (FR); Project Alias, Bjørn Karmann (DK), Tore Knudsen (DK); Piano Performance, Maki Namekawa (JP), Ars Elec- tronica (AT); Dear Glenn, Yamaha A.I. Project with Akiko Nakayama, Glenn Gould as A.I.(JP; Yamaha Corporation), Akiko Nakayama (JP); Hiroya Tanaka Laboratory + Keiji Takeda Labo- ratory, Keio University SFC (JP); Media Lab, Art & Media Course Department of Information Design, Tama Art University (JP); Research Unit on Art and Technology, University of Tsukuba (JP); /Ars Electronica Futurelab Electronica /Ars Nature to Listening © Hajime Kato Virtual Festival/ Offering Currency © Hajime Kato Watai, + Taiki Ichihara Estuko Department of Visual Communication Design, MIDTOWN © TOKYO Festival, the Future School of

430 431 A global journey mapping the ‘new’ world In Kepler’s Gardens

A journey in which it is not we who set out to travel, but our ideas and projects, which span a global network in which we gather to discuss what needs to be done.

Autonomy—Democracy Ecology—Technology Humanity Uncertainty

Hardly any other phrase has been used so often in recent months: “The world will be a different place after this crisis”—spoken prophetically, often as a glimmer of hope, more often as a threat. Is this true, and if so, what will the changes be? That question is the focus of this year’s Ars Electronica. Following last year’s brilliant 40th anniversary festival, which brought more artists, exhibitors and international experts to Linz than ever before, this year Ars Electronica is going on a journey, or rather the festival itself is becoming a journey—a journey through “Kepler’s Gardens.” A journey through the networked biotopes and ecosystems in which people in over 120 locations worldwide are working to develop and shape our future, and these days that means, above all, working to save our future. A journey to and with many committed communities that have already begun not only to think about the current problems, but to work on concrete ideas, actions and solutions. Places, initiatives and institutions where artists and scientists work together, challenge society and try out new alliances and forms of cooperation.

ars.electronica.art/keplersgardens HUMANITY

Bergen

Amsterdam

Hong Kong TECHNOLOGY Athens AUTONOMY Belgrade London

Munich

UNCERTAINTY

Prague

Milan

Jakarta

Johannesburg