The project is called the Katsuki Project. It is a project that represents the identity of a person who is in the landscape. Here we have a project by Katsuki, a student from Japan. He is doing this very handcrafted kind of like a street art project where he is trying to represent his identity into the landscape. This project was done in Japan, so he is talking a little bit more about his physical appearance. And so he's talking a little bit more about his physical appearance. And this one is talking a little bit about this identification with skin tone and race, and trying to reflect on how he's feeling and how he identifies here in Europe as an artist coming from Japan. Also not feeling really comfortable in Japan, you know, like trying to find himself somehow. And reflecting in his artwork, which I think is also very, very beautiful. In short, I was researching the surveillance right now that's possible through various kinds of mediums, especially with the help of AI. I took the whole process and I tried to make it as inefficient as possible. So I turned to sort of medieval, almost I would say medieval time type of data storage, where everything that's seen and detected by the artificial intelligence algorithm that's taking the feed from this camera is written down on a long, long sheet of paper, sort of like papyrus or something that you would later on bring to the king or somebody else. And from this, I was trying to take off from from, yeah, this efficiency. Now we're hyper focused as a society on this efficiency to make everything super efficient, to use AI, to document, save, store increasingly large amounts of data in no time. And here you have to be frustrated, you have to wait. That patience is rewarded, some things are missed and it's becoming like the sort of more natural and old school type of fixing and finding out what's there and documenting everything. At the moment it's identifying concepts and objects and placing them. Hopefully in the future it's gonna start like writing poetry and being more creative. It could be, it could be. But for now it sees everything that's in the room, then all the data is fed to YOLOv8 detection algorithm, enhanced by artificial intelligence, it's kind of used in the industry as well, and yeah, and the data is represented here as text written by the pen and handwritten font. So basically our main concern here was what happens to our digital identities once we die and we decided to delve into this team because we were concerned about data usage for instance and we focused on the social media facebook because whenever you die and you still have a profile on facebook your relatives or friends can turn it into a commemorialized account. So it's an in-memoriam account, basically. And we decided to scrape Facebook, to take the username of these people and basically to build up a digital cemetery. And now the cemetery is currently running on Minecraft. So there's also these differences between this game that usually is played by teenagers and stuff, and this is a really serious game instead. And now the cemetery is hosting currently 1,400 tombstones. And on our behalf, we were wanting to have two types of interaction so basically you can homage these people by either placing flowers on their tombstones or also by lighting up candles and there's also a main temple that we that we want to call temple because we didn't want to have any religious signs because of course we don't know the religion of these people. And there's also the physical part of installation where now is like trying to portray what's going on in the digital world physically. And this is a real tombstone that we had the chance to pick up here in Linz. And we just had to took care of deleting the name and also the decoration are real and they are from the cemetery here in Linz. And yes, we're really happy about it. We are also thinking about making it a multiplayer because Minecraft usually is played online with multiplayer communities. And there are maybe a few other implementations that we can do, but we're really happy about it. Another great trial to make an installation so that it's not only just like a raw VR that only one person can experience. We try to also have the opportunity that people that they are not wearing the VR headset, they are also experiencing the work so that it becomes a little bit more exhibitable. And Balint has a background in painting as well, and now he's trying to paint with VR somehow, and trying to have a place in the gaming industry, so jumping into gaming. And this work is a lot about afterlife. If you have him, you can come back and just talk to him. He's talking a lot about He's talking about Afterlight. He's creating the great 3D sculptures. He's also a sound artist and creating his own soundtracks. It's a pity that he's not around. But if you want to experience it, just come by in a few hours. He will be back here. Then we have the project from Ahmed. Ahmed also a student from Egypt, he's not around so I will just like quickly talk a little bit about it and that's it. So it's basically the idea of like disappearing behind the mirror, this kind of effect and of course like the relationship between a mirror and the screen and the interface as a mirror of yourself and trying to build this kind of like poetical approach to that so he's using i think well yeah of course like kinect and camera and before for this, I'm not 100% sure. Then we have the project from Bejiye, Bejiye Demir who is also our production coordinator. So the main reason why we have this beautiful exhibition and she also has a project here and she also has a performance tonight and she's helping everybody around. So I'm super thankful to Behi and would you like to talk a little bit about? Yeah of course. It is a mesh and mess of the beings and it includes home devices that are interwined their predetermined designs and functions also. I was trying to create different conversations between the beings while putting fictional functions between them. And I was inspired by human organizations, actually. Some of them, like the behaviors can be misunderstanding, mistransferring, being didactical, keeping the information to itself, being selfish, but also caring, being fully caring or being fully selfish. This kind of attitudes I put to installation. Yes, you can follow the cables if you want to understand the relationship between each other. We have an AR project from two students actually, I think they are a couple, even married, from Iran, Hanif and Gazal. Hanif is working, Gazal is also part of the funding lab. So they are around, unfortunately they are not here, but it's a beautiful project that talks about the relationship with the political relationship with their country as well. But they try to be really, really metaphorical about it. It's talking about like freedom of speech. It's talking about like what you expect to have behind the wall, talking about like reality behind the wall from inside to outside, from the outside to the inside, what you are expecting in this relationship, what constitutes like inside and outside and public space and private space in this political realm of the Iran situation. everything really metaphorical everything really allegorical nothing is nothing really concrete here this project from Lina Lina is a student from Colombia working in this realm of art and science specifically most of her projects last year she had also a very interesting project in the Yotkao where you have to put your head inside of the ground. And this one is a VR project, it's called Qualia, so like following this concept of Qualia, of like what constitutes your physical reality and how you can compare it to the physical reality of another human. And it's a VR project, you can experience it, so it gives you some insights about what's happening inside of your eye while you are looking at things. The pupil that contracts and expands, how color is happening, these rods and cones inside of your eyes. So you experience both the physical reality and your sensorial apparatus, how it's reacting into that. So what we built was a soft interface that is unique, that has a nice haptic feedback. So I would invite if you want to try it, you have to really push inside it, be shy not be too gentle and there should be color appearing like getting a living creature you also can give it a direction if you want but you have to be kind of use your more force to really start it And it was a collaboration between Interface Cultures and the JKU with my supervisor Ingrid Graz as my background is physics also Matthias Gartner's background is physics and he's a physicist and we built this device which can in the future kind of used for making music as a music device or playing games in Zukunft für Musik zu machen oder Spiele zu spielen. Es ist also wirklich eine neue Art und Weise, mit haptischem Feedback zu interagieren. Es ist also sehr versprochen, es ist ein Prototyp. Aber es gibt viele Möglichkeiten. Matthias, willst you want to say something? Yeah, it's also it gives the user a very unique feeling of touching. And we also see that a lot of people that are interacting with it, they really like to touch it. And they also like to explore not only what is the feedback but also the feeling when you touch it. Yes, yes. So it's not only what you get back as a feedback but it's also really the feeling on your skin. Yes, yes, exactly. And since everything is flexible, it would also be possible not to just mount it on a completely flat surface, but also kind of mounted on different shapes and also kind of flexible shapes. How deep is it? These pillars are like 4 or 5 cm. So I'm doing right now my PhD at the JGU and I'm doing more soft robotics, so material science and I'm using silicon and this is also built completely out of silicon. This is the story behind it. completely out of silicon. This is the story behind it. Also super happy. It's super robust and that's also like one of the challenges. I mean, not for you, you're a PhD, but for a lot of our students, usually like these projects, they are they are setting up in their studio. They are setting up at interface cultures. You know, it's like this is the first time that they are exhibited. So, you know, we are extremely exposed to human touch, to people trying to, you know, like disrupt all the artworks, you know, like be creative also with the artwork. But I'm very happy, like all the projects are really robust. They are working perfectly. Nothing broke. Nothing broke so far. I mean, they're expectable. I would like to bring it to an elderly home because I read a lot of publications about dementia and interactive art and I would try something with this kind of soft carpet because they can then interact with it and now I call it carpet sorry but maybe you can also walk on it yeah I don't know but next step would be making music because yesterday someone asked me from the Tangleball Music Lab about kind of making a collaboration or bring it there and as an interface. Maybe the next thing. The interaction is really interesting, what you created. This idea that is also expanding and it's not just one-to-one but it has some kind of like warm feeling that you know that it's alive in a way you know like yes that is sensing it yeah so future past is a somehow a speculative experiment about history through artificial intelligence tool, I found this algorithm that is called next frame prediction that if you take a video is able to predict the to predict the next frame of this video based on the previous frames. So somehow what is constructed is a future, no? from a past. And I was thinking in the possibility of the political and imaginary possibility of creating a future past. If we have this concept of history as the history is something that cannot be altered, that we are carried with, we are always carried and cannot be dissolved, no? And there is this historical turning points that cannot be changed and defined as, no? But I really wanted to melt it, like, because our history nowadays is based on ecological crisis, wars, ecological-economical crisis. So somehow it was an exercise of speculation and utopia. despite the setup that is totally dystopian. It's like a creator that brings us this speculative device that is able to transform past into future. The main subject that we discuss always in Petit Comité, in the department, about how can you be poetical, how can you be creative with AI what kind of like creative use of AI and you found this kind of like idea of like the space in between images you know that and this potential this interstitial potential of of this you know like these spaces in between that they are they are they are not affected by the politic of the image and and the potential tools espacios entre ellos, que no estén afectados por la política de la imagen y el potencial también. Creo que la imagen artificial inteligencia tiene mucho potencial poético y político. Cuanto más disolvida sea la imagen, la más política es. Es tu mirada, es tu mirada humana, es tu entorno cultural y todas las cosas que tu imaginario, las cosas que estás llevando, son las cosas que pones en esta imagen para, de alguna manera, comprenderla. Y creo que, de alguna manera, to somehow comprehend and comprehend it and I think somehow an artificial intelligence that takes shape in a very specific thing doesn't have that. So I was trying to look for these images that they are not representative. No, I think there is where the artificial intelligence images are more interesting. The beauty orchid, actually it's a part of thinking about relationships between natural doğal parazitler arasında ve sosyal medyada. Bu orkidin Instagram'da yaşadığı için, bu bir parazit. Yani bu çalışmada Instagram'ın bir üyesi. Bu orkidler, her zaman orkidleri ıslatmaya başlıyor. Ve kritik düzeyde ıslatma süresi, instagramda ıslatma için selfie paylaşıyor. Ve sosyal medya ekolojisine adaptan bir şey. Bu konu, farklı ekolojilerin farklı sınırlarını düşünmek. Aslında, bazı sınjik sınırları ve birbirleriyle karıştırmak için. But I want to think about market plants and fast growing supplements with Instagram aesthetics. Because markets showing some make up things like beautiful plants. But we are buying this plant and after it's dying next week. This is my project, it's called, Viscinating Absence and it speaks about the fragility of human relationships and how those are really visible for us only in the moment of the absence of a loved one and this is creating a sense of vibration and emotion that linger in our body even when the person is still not present. And the artwork, unfortunately we are many people so it's difficult to catch the exact way that it's working, but it's taking into account the proximity and the presence of the viewer and also the movement. So whenever you're standing in front of it and standing still it's getting calmer but as you try to move away he's agitating more because he's experiencing this feeling and I'm using water as a experiencing this feeling and I'm using water as a metaphor for this living and vibrating feeling. Does it react to sound or are there sensors installed? It's actually not reacting to sound, it's created by sound. Yes, underneath the water there is a speaker which is playing a very plain frequency with no harmonics, a physical representation of the sound itself and the frequency, so how much is vibrating, is generating different kind of ripples on the surface. And when you move away, it's disrupted, basically? Yes, yes. And the image that is projected is just directly taken from the micro camera. So you're actually looking exactly what's... That's right. Yeah. Feel free to approach this. Only water and reflection of water. Now it's just the light of the camera. So... And then when you approach it starts. There are usually projects that you are supposed to experience in the intimacy. It's really nice and really immersive, you approach one by one. It's not so easy, you have like 50 people around, everything crashes. It's not supposed to be like that. But it's good to get an overview so you can come back to it and get your understanding. And the best troubleshooting environment. This is our last project of our exhibition here at the Post City from Interface Sculptures. It's the project from Salma, who is also another kind of like projection-based immersive experience. Please Salma. Yeah, okay, so my project Cont Infinity, is an immersive and interactive artwork. It's inspired by Khayameya, which is an Egyptian tent-making artwork, textile artwork that's inspired by architecture. So basically, you can enter, and the space starts realizing the person inside and it interacts with it and it starts changing color, animating and playing sound. There are also philosophical themes behind the art, the visuals, which is that one point is that everything is revolving around one point and how different shapes are harmoniously fitting in one contained space. So the artwork, the color changes, the visuals animate. And then also there's a sound that would play. So also the triggers are in each corner and also if one person stands in the middle, he would trigger all three interactions. όπου όλα συμβαίνουν σε ένα κέντρο. Ευχαριστώ πολύ. Νομίζω ότι αυτά τα πάντα, αν υπάρχουν ερωτήσεις, μπορούμε να τις απαντήσουμε. Αν θέλετε να προσπαθήσετε να πάρετε τη διάρκεια, γιατί είναι ακόμα περισσότερο, ask the students to take your chance because they are still around. Please get... If you want more information about the program and about all the hours that are exhibited here and also outside of Interface Cultures, also, of course, in the Kunsttunni in Aplats, there is the main exhibition of the campus. And also we have some workshops there and some activities there and some performances there as well as well as in the deep space our students are also presenting some projects in the displays so please have a look and follow us on instagram because we have all the program there and all the schedule of our activities there and please pick up a pick a little catalog and we also have some goodies, some merch, some bags. So if you want a bag to carry your things, please ask the students. They will give you one. And thank you very much for following this tour and for coming to Interface Cultures. Thank you.