Back in die radikale Zentrale und ich habe schon meine andere Gäste da und ich werde sie jetzt gleich vorstellen. Wir haben schon was getrunken, jetzt war ich nicht so Bad-Gastgeber. Jetzt habe ich schon vorher versorgt. Und ich habe jetzt mit mir Biophony. Ich glaube, ich würde sagen, dass ihr euch eure Namen vorstellen könnt, aber ich werde euch vorstellen, dass Biophony ein Kollektiv ist. Ist das wahr? Ja, das ist verdad, porque... Mi nombre es Lesia. Mi nombre es Fernando, Beat Dreamer. Soy Cameron. Es un placer conocerte. Sí, es un placer conocerte también. Y tú eres un colectivo. ¿Desde cuándo estás trabajando juntos? Estamos trabajando juntos desde You are a collective. Since how long are you working together? We are working together since May of this year. We met each other in a residency in Spain, in Molina Lab. So maybe Fernando can tell us a bit more about this project. Yes, please, please. This project started during this year during a residency under the program Culture Moves Europe and we had the opportunity to invite there in Molino Lab in the west of Spain in the border with Portugal. We had the opportunity to invite nine different artists and during these three weeks we were collecting some information from plants, electromagnetic information, but also doing kind of sensory trainings to try to understand better how other living organisms can communicate with each other. And with this information that we gathered during 32 hours of electronic information we we try to do different things no turn it into music into information to perform into visuals different different things it's really interesting because you're three different characters and but you're uh together in one thing and you're exposing making exposition for your work now it's a biophony dancing nature and where is it to see is it here is it in post city or where can we see your work she come to the basement. Come to the basement. And can I ask what is all about? So what is your work all about? So you met each other in the residency and then you started to already think, oh, it's going to be us, Eletronica, and then we make a work for it. Or how did it all happen? Like how is how did it come to this for me it was a kind of destiny because i was really interested how to combine in my i am visual artist new media artist and i was really interested how to combine in my work synergy between nature human human and technology. And this residency open call to it was like really very interesting chance to create something bigger than my own practice. And each of us had in their portfolios something related to biophony, because it's really difficult to find people so interested in interactions, in collaboration, in synergy, but also in nature and in technology. For example, Cameron, he's really good and quite unique in field recordings and maybe yeah i would say that we um we might be three very different characters i think we're unique in our own ways with our own styles and things but we have a common goal um towards nature um also technology as well um at least from my part i'm i tend to use more analog based things than maybe these two guys but um yeah so it makes us different also yeah analog with technology yeah i think like the the real world and the environment is very important to us and i think that the uh the prime goal for us as a collective and also when we were at the residency with the nine of us it was to try and present the world in an alternate way that people don't necessarily see and this uh the main device that we used and the symbioware box which is um well i was the one that did the majority of the during the residency i did the um collected the midi data along with another musician I create sorry I collected further ones for this installation specifically over a longer period and so what it does is it measures the current micro fluctuations within plants it uses moisture as a way to find out how the signal is being transferred from the earth to the secondary nodes and um yeah putting that in in an unconventional way to create music by using synths and things that's where the kind of more modern element becomes involved yeah and you talk to me did you have a band you know like this red flag act. Please make a shot here from his t-shirt. Yeah, exactly that. Thank you very much. This is actually the cover single for the first single that I have coming out at the end of this year. I'm making a geo-specific album based upon sound recordings from different places. and also like a little bit from this bio so a little bit so with uh an inspiration about yeah so what i was going to say was that uh fer and i uh we um we plan on playing live with the three of us as well connected but yeah performing live and this is my performing name so yes so if you want to know more about you can also search in internet and find red flag act and listen to you guys too but um let's talk a little bit more about your um exhibition right now and i i feel really interesting also three different persons three different characters very unique and making this you were you making also this or did you for us electronica you were in the residency and was thinking oh come on guys it's going to be as electronic a festival let's do something for it or did it just happen? You see, oh our work fits on this, let's propose. How was it like the process that you came to Ars Electronica? I have applied to Ars Electronica in the beginning of the residency because I felt that this project suits to Ars Electronica and I'm pretty sure that this is one of the most important and really amazing event in Europe and I'm sure that it's for all technical artists it's true. So of course it was great opportunity and during the residency we really used to live all together like one big strange mad family. So of course in the end I have proposed to participate all together and it was like and you know we started like separately but in the end it was difficult to understand who made what sometimes because for example for this exhibition for this installation we have two two installations digital installations one is real-time it based on interactive to real-time data and it was mostly created by fernando but we started it together making 3d scans of plants and environments and camera and fernando was really more into this and like he finalized with his knowledge with his passion he's really cool in mapping and like it was his point of view and uh i also made for other installation digital installation i made first photograms of the plants that we have chosen and after that cameron also he has created um Cameron also he has created sound music pieces based on his field recordings and also media data and after that I programmed these photograms with his music and made this audio reactive installation so it's like it's really impossible to create this exhibition without each other. It's really collective. About synergy. Yeah, and I think that's also the future. I don't know. I think synergy, I think together we are all stronger. And now I see we're out. Oh, we're back again. Sorry, do you want to say something? I'm so sorry. I was distracted. What Lesia said is just this, no? Three weeks working with different profiles, nine artists with different backgrounds and different origins and so on. It was so interesting to learn from each other, no? Lesia was talking about we were learning from point clouds and whatever, but at the same moment, I was learning from Cameron different things about resonators and so on. And you see three of us, but we are nine in the group. Everyone crazier than the previous one. And that's one of the examples of the projects that we developed at Molino Lafayette as our place. The place that Salome and I created five years ago, as I said, in the province of Salamanca in a 600 villagers village. And there we host residency projects, but also we develop projects regarding regeneration of the earth. try to mix dance music arts in general technology and this kind of things it's really cool it's really cool congratulations okay google okay tell me more about and how are you liking until now all the all the time here in az electronica did you visit you liking until now all the all the time here in us electronica did you visit lots of works or what is your fat seats for me everything is amazing every year that i came i'm more amazed about the amount of things and the different artists that that that we gather no and we met um today this morning i was in paul city and I was there six hours and I need three days more to see. And I only have two, no? So yeah, I experienced Deep City this morning and that was something else. I got a tour around the constellation. It's pretty impressive. And yeah, I don't think it's something that you get much of an opportunity to do. I think this is one of the few places that has this so yeah it's pretty amazing yeah it's one of a kind and the place is also cool and also it was like the old post they use it really cool so since three years i think it's there all the time before it was just as electronica and it's was getting bigger all every year so and more important because getting also the attention so hands up for for this festival too and it was really really nice to meet you guys there's something else that you want to tell now or to say to to come to our installation was that how it, Hauptplatz 8? Yeah. In the dungeon. Basement. It's called the basement, but it's really a dungeon. We get lonely. We're starting to get hairs in places where we didn't know we had them. So, you know. Yeah. And you can also follow us, biophony.art. We will have updates in a few days so yeah yeah so please listen to this visit and see the work that is exhibited exhibition on the basement and and I wish you all so much luck and so beautiful days here and was a pleasure to meet you guys thank you so much thank you and now I think E foi um prazer conhecê-los. Muito obrigada. Obrigado. Obrigada. De nada. E agora eu acho que vou voltar para a Eli. Não, é a nossa introdução. Não. Nein. Okay, wir sind live und wir hoffen, dass wir unsere super coole Intro von Bibi sehen. Danke Bibi. In dieser Raum. Sag danke. Funky thanks. Do you like your kombucha? I like it very much. I wish that everyone can drink it with us, but it's really nice. So come over and try the kombucha. But now let's go to HSM. What are you doing here? I arrived one and a half years ago to study in Linz. I come from Syria and I only discovered my that I wanted to do art also like two years ago. So I'm new to all this these things around me. And yeah, I am basically technically driven storyteller and artist this is how I like to introduce myself and basically I like to experiment with basically mainly video art and everything that surrounds music and audio effects and photography, film photography. And now in my study department, which is time-based and interactive media, I am also getting to, you know, familiar with interactive technologies. So I'm also very excited to what I'm gonna be doing in the next years. So dear people just for information all the three of us are studying time-based and interactive media and you can find our projects during the campus exhibition at JRS Elektronika Center called Linkious Dreams. So please come and visit it. We have a video installation by Hannes and we have your installation, Hesam, so you want to tell something about it? So I did two installations. One, the one that I will start with is the text-based installation, it's called Denial and it's a corner that looks, I wanted it to look like the telephone booth in my grandmother's house and on it you can see a handwritten story or memoirs of someone who is having a hard time coping with reality and he's having visions and delusions and you go into like the details of it and there is another interactive element which is an audio tape recorder so you're asked if you feel moved by the piece to share a delusion of yours and you get treated with a chocolate. And the second one is an identity project. I did it with my colleague and friend, Masa. And Masa Jalili is also an Iranian artist. And we came in the same time, in the same semester, to study in time-based. And we were having the weird feelings of being an outsider and experiencing that for the first time and we wanted to share with people our our inner how we see ourselves from the inside and how we think that the new outside world of the world let's say in Europe or in Linz how we think that the new outside world of the world, let's say in Europe or in Linz, how we think that they are in some way judging us because we're insecure and we don't feel like home and we added to it like a sound sound soundtrack I would say from that we made from audio files video records voice records and just like some ambience from our countries and it's like I would say an immersive journey into just like how we feel and I think I'm really satisfied with it. And what will it do when you are a grown-up artist? Will you stay with us in Linz when you're a grown-up artist? I have no freaking idea but what I know is I am staying here for at least like four years and I'm gonna find my next destination. But the idea of Linz being a home that I would come if whatever, if I can go outside, exhibit outside, I really like the city. I think it's, for me, I don't know if this is controversial, but for me, Linz is more's for me, I don't know if this is controversial, but for me Linz is more suited for me than Vienna or other big cities. So yeah, I hope that I stay here. So now you're a part of the mushroom universe and so we will stay in contact. So you're part of our mycelium now. And now let me introduce our next guest. Her name is Miss Oyster. Miss Oyster, how are you doing today? Oh, she's she's angry. Hazel, do you do you want to give her some food? Please, please feed her. Give her some coffee. Yes. And now Hazel giving Ms. Oyster some food so she stops getting hungry, please go back to the Radikale Zentrale. Hey, here we are again. Back to the Zentrale. Und ich habe schon meinen anderen Gast. Und der ist jetzt mit mir. Und das ist Simon Hell. And welcome, Simon. that is yet smith mia and this is simon hill and welcome simon and we are talking about also about your work that you're making here in azalea electronica where is it to see where can we see or where your work where is it you might see the work in the city center at the University of Arts in Linz, Hauptplatz 6 in one of the first bigger rooms here on this site. Cool. And the name of your work is Dirty Data, it's a very naughty name. What is it about, your work? What is it? Can you describe it? So mostly whenever we are talking about data or data processing systems like artificial intelligence, for example, we're mostly thinking of something clean, maybe a bit chaotic regarding the cables and hardware, etc. But we're actually never thinking of something dirty. So I was quite confused when I was first confronted with this term dirty data I was like, what does it actually mean? Especially as the word dirty already has like several different meanings in the English language so I did some research about it and I found out that it's mostly used in economic contexts for data or data sets that are seen as incorrect, incomplete or irrelevant to solve your problems. So it caused a lot of troubles and people want to sort it out or they gonna use words like they want to standardize it, to harmonize it, normalize it. And I went on with my research and I also realized that like a lot of data sets like also for example queer data sets are often seen as wrong or false data sets. So they're also seen as dirty data and these are also data sets that are going to be sorted out or standardized, normalized and so on. And here we come to a very problematic field. So I wanted to come up with this work to also rethink the whole term, to rethink what dirty data might be, especially also when we're thinking about ecological aspects. Might dirty data also be a term to describe like the whole... Something that it's not good to see or something that they want to hide? Maybe also something that they want to hide, but also like when we are producing or storing data, we're also producing a lot of greenhouse gases, for example. So might this also be a term for this, for example, or how is it used like in other ways when we're thinking about all the linguistic parts of what dirty might be yeah so also like this naughty part that you already mentioned i opened up like a poster next to it like there's a research poster and i invited people like to share their thoughts about what dirty data might be and there were also like this aspects that were people thinking about. So yeah, for me, it was like, I want to open up the discussion again, what dirty data actually is, to not focus on this economic term. Okay, not focus on this dirty, like, you're dirty, like you're naughty. So to put the terms like different, no? So to open up because you say dirty data, oh my God god I'm going to see some not open files from pornos you know what I mean so it was like when I when I just see the name I was like oh really curious what is he going to tell me about what is what it what is it really so I think we have some pictures in the clouds. Maybe we could see them also here and see what are we talking about? What is really dirty data? Okay. So here we can see one picture. Yes. So I've already shown the work once in Luxembourg within an exhibition from Electron. Cool. And here you can see the neon sign above it also saying dirty data that might also be like this reference to this naughty part that you already mentioned where we see it like from other parts and yeah you can see a lot of dirt in the ends like with this glowing neon light in the middle also and on both sides like on both arms we have like a smartphone on one smartphone we can see um also like kind of a discussion about the term dirty data within a pop cultural environment i try to produce like this tiktok styled videos okay because i was thinking like tiktok is also using like a lot of narratives a lot of suggestions of like what something might be so we have to filter somehow what's like um facts and like where we also have like reality and what's real or not real real or not real or like whether we also get like fake news for example do we stay in our bubble when we're thinking about the term like dirty data or do we really open up and yeah that's why i also try to use this pop culture reference and on the other side i did like something new like in luxembourg back then we had like the videos on both sides and now there's also an interactive element on the other side where you're doing like photo photographies of yourself that are a bit like manipulated. You see a lot of fonts, like kind of a filter and you always get like a question like what dirty data might be, how it feels like. Yeah, sometimes it's also like just a funny comment on it and to make you thinking about the term one more time. Yeah. Yeah. And do you think that it also has to do like people are sometimes afraid to expose that their data going to be used something different or something that's not not their selves and not real is it always like is this also a point to think about your work no yeah i think so much people are fearing about this like a lot also and i think the work wanna think towards different directions so this was also important to me because like a lot of people were asking me now like what is dirty data what does it actually mean and I don't want to give them like one one answer like one suggestion I want to give them more suggestion and invite okay to experience that and say okay this is also known as dirty data when I take a picture of me and then make it interact and make some other reactions and that is also dirt. So as I see is like, you start here, you make a photo, then you go into the dirt and then you have the TikTok. Is it right? What I was seeing? No, it's not like that. I would say that's like a fun first interpretation. I would say that's like already like fun first interpretation. So, no, no, no, it's quite nice. I like it when people are thinking about the work or like to share their thoughts. I think I don't want to share like mine because I want to start people to think about it and to let it open. But yeah, this might be like one possible way, one idea. So because of the form, you know, like this is here this there and then I was like thinking okay, maybe it goes into the dirt near and it comes like something Different showing up or you know, like what is it? It's going to the dirt. Yeah Congratulations thinking like that. It's kind of a creature. So yeah, it goes towards different direction No, congratulations for this open because sometimes is I I noticed that all the the works it was like introduced today there some of them are very direct and some of them are also very open and I think that's what you can do also with interactive and also with computer everything that you can let it also very open you don't need to be specific no absolutely yeah and you are studying in constantly I'm also studying at the University of Arts and Linz in the department of time-based media in the master's program this work especially was developed within the course within a class of critical data from the Interface Culture department. Okay, together. They also invited me to the exhibition in Luxembourg then, that we hold together. Really cool. And did you make, then you proposed this work or did somebody in the department say, oh you have to show this work in Ars Electronica how was it that you came to it? I mean they gave us like the chance to also apply for Ars Electronica like also for the other students and it worked out and I was quite happy to re-show it and to show it also in a different way and to get more inputs from the people what their thoughts are about dirty data. Very cool, congratulations for your work And I hope you're enjoying a lot now as Eletronica. I think it's also really cool to connect and to meet different people and different stuff. And I wish you so much luck in your future and in all your work and a nice festival. Thank you very much. Pleasure to meet you. Enjoy and thanks for inviting. Yeah, you're really welcome thank you so much and i think now that Herzlich Willkommen wieder bei Fit4Us mit Bibi und Branko. Wir haben es jetzt drüber geschafft mit Sprint rüber zur Stadtwerkstatt und die haben da ein ganz eigenes Thema, nämlich nicht HOPE, das Thema ist NOPE. Und wir sitzen jetzt da in der Messe, wie wir sagen haben lassen, von der alten Eleonore, die ist da aufgebaut worden, mit Tanja, mit Taro und mit Jan und mit Bronco natürlich, Entschuldigung. Und ich hoffe, dass ihr uns jetzt einiges erzählen könnt was da passiert um was eigentlich geht bei euch ja mit wasser mit aufhören weil bei uns ist derartig viel los dass man überhaupt keine ahnung haben wo man es überhaupt beginnen so in die stadtwerkstatt vor die age showcase extravaganza was was wie interessiert das thema wie soll man mit der Edea Noa, wie soll man denn anfangen? Mich interessiert erstens einmal... Wie viel Zeit haben wir? Wir haben 10 Minuten. Und wir hoffen, dass wir dann auch noch ein bisschen von euch herumgeführt werden und ihr uns noch ein bisschen was erklärt. Erstens, Thema Nob. Ist das einfach wirklich nur so ein kultivierter Pessimismus, wie ihr es hier formuliert habt? Naja, ein kultivierter Pessimismus ist eigentlich überhaupt nicht. Es ist eigentlich ein Statement gegen die Kultivierung von Pessimismus oder auch vielleicht was in der Kunst sehr verführerisch, dass man mit so einer Angstlust oder so einer Angstgrusel arbeitet, von wegen es wird alles so furchtbar und das ist sozusagen die Emotionalität, die dann die Arbeit ausmacht. Das würde ich jetzt einmal sagen, das interessiert mich jetzt nicht, ich glaube auch niemanden von uns. Ich glaube es ist auch jetzt, wenn man die Stadtwerkstattgeschichte anschaut, auch jetzt nicht unbedingt typisch, dass man sich in einem Pessimismus niederlegt, sozusagen. Weil dann kann ich mich wirklich zum Sterben hinlegen, weil es ist ja wirklich sehr viel so furchtbar und so ein Desaster, dass man eigentlich schon sehr wohl die Kritik üben muss. Und vielleicht ist das irgendwie auch so eine Qualität von einer kritischen Kontinuität, die wir pflegen und kultivieren. Aber ich würde das jetzt nicht als Pessimismus bezeichnen, sondern sehr wohl so eine Force des Widerstands oder einer kritischen Distanz, dass man sich sozusagen ein bisschen in Distanz setzt, um quasi überhaupt diese ganze Betriebsamkeit und den Kapitalismus und das Klimadesaster und den Rechtsruck und die Totalitarismen in der Technologieentwicklung thematisiert. Es gibt auch so einen Spruch, Pessimismus des Verstandes, Optimismus des Willens. Und das finde ich irgendwie immer noch ein gutes Zitat, um dieses Verhältnis vielleicht ein bisschen zu beschreiben. Und im Claiming haben wir zum Beispiel das, was du angespielt hast, in Optimismus des Willens ausgesprochen. in Optimismus des Willens ausgeschlossen. Also, und ich glaube, das ist auch in einer guten Stadtwerkstatt-Tradition, seit Anbeginn an der Widerstand, die Kritik, aber dennoch irgendwie die Ansagen machen, was wir wollen, nämlich wir wollen trotzdem immer nur das bessere Leben für alle. Hm. Ähm, meine Zwei- Ja. Wow. Wir waren ja ziemlich gut am punkt mein zweiter frage ist warum habt ihr die eleonore da aufbaut ich glaube unser jahresthema war ja kann weg das war noch kurz vorm oder ein gutes stück form und das war eigentlich aus einem bedürfnis heraus anfänglich, weil er die Eleonore zum Anfang... Erfordernis eigentlich, nicht nur Bedürfnis. Wir haben die Eleonore leider verschrotten müssen, die Originale, 15 Jahre Geschichte mit viel guter Zeit, mit vielen lieben Menschen und viel Herzblut dran die hat weg müssen wird zum glück geben ein weinendes ein lachendes freudiges auge wir müssen uns von was trennen und beginnen was neues das ist das lachen der augen an das ist aber zukunft und dann bringt nicht aber ich würde schon interessieren was ist das neue wir sitzen gerade am extrakt von messikif Eleonore. Es wird ein Folgeprojekt geben. Aber ja, einen würdigen Abschied. Viele melancholische Situationen. Viele Medienkunst-Residenzen. Ich habe leider die Zahl vergessen, aber wir haben sicher 50 Residenz gehabt im Laufe der Zeit. Gute Projekte muss man gut zu Ende bringen. Ich finde das ist auch ein bisschen so ein Respekt. Ich habe sehr gerne auch am Abriss gearbeitet, weil ich mir gedacht habe, so viel wie man da auch rausgezogen hat oder wie viele Möglichkeiten das geboten hat und das dann irgendwie dann auch nicht einfach sinken zu lassen. Und bei dem ganzen Projekt beteiligt jetzt Abreis und dann die Zukunft. Speziell beim Abreis sind viele Leute, die sich da engagiert haben, haben eine Verbindung zur Eleonore und da ist natürlich klar, das müssen wir zu einem würdigen Abschluss, wir können das nicht einfach abschieben oder weggeben, sondern das macht man jetzt. Vielleicht kann man auch bei der Gelegenheit sagen, dass morgen um 18.30 Uhr gibt es noch mal so ein Gathering und einen Ship Talk, haben wir das genannt, von allen, die an der Eleonore beteiligt waren, Residencies gemacht haben. Auch die neue Gruppe vielleicht. Gibt es eine neue Gruppe? Voll gut, weil ich habe schon überlegt, ob ich dazu gehe. Ich habe mich immer zu meiner Last nicht ehrlich gesucht. Na ja, ich habe auch dabei. Ein bisschen entwerfer. Nein, nein, nein. Grumpy old white man. Ich habe immer das Gefühl gehabt, die freie Szene in Linz, auch die Männer kommen in die Midlife Crisis, die kaufen sich kein Porsche, sondern ein Schiff. Stimmt das? Wir haben keine Kohle zum Schiffbekommen. Ihr habt auf jeden Fall keinen Porsche. Das kann man mir sagen. Nicht dass du es hast. Ja eben, sagt es mal. Schon wieder was live gesagt. Sparst du vielleicht auf einen Tesla? Nein, aber ich glaube, das ist schon Männerlastig, finde ich selber. Ich glaube, das ist guter Beitrag. Speziell das mit Booten eigentlich. Das war immer so eine nautische Romantik, die eigentlich hauptsächlich bezieht wird von Männern. Hoffentlich hoffen wir, dass wir das aufbrechen irgendwie. Okay, weil ich lieb's ja diese, auf der Donau und so, wir haben's ja da und also wenn das jetzt offen ist für alle, kann jetzt jeder kommen und dabei sein in diesem Verein oder wie ist die Auswahl? Wenn du was arbeitest. Ja wie ist das? wie ist die Auswahl? Wenn du was arbeitest. Ja wie ist das? Wie ist die Auswahl? Was muss man tun? Wenn ich vielleicht noch zum Männerlastigen sagen werde, es ist schon immer wieder ganz bewusst, also quasi auch aus diesem Bewusstsein aus, ganz gezielt in die Richtung gearbeitet worden. Also ich bin auch mal eingeladen worden, eine Residenzreihe zu kuratieren. Julie Chang, die hat auch da alles, hat auch eine Residenzreihe kuratiert. Und Julie, you heard your name. Yes. I know, I was like two years ago. We made you a little bit longer. No, but there are always, there were, now I start talking English. Sie waren immer Frauen auf der Eleonora. Es haben eine längere Zeit Frauen da gewohnt. Die Eleonora ist ja eigentlich eine Geschichte von einer Frau, die sie als Piratin ausgeben hat oder als Soldatin. Also es gibt sehr viele Bezüge, gerade aus dem Bewusstsein aus. Aber ich finde es umso wichtiger, wenn du dich dafür interessierst. Bitte, ich glaube, dass es, du bist willkommen, darf ich für euch sagen, oder? Wir sehen uns morgen um 18.30 Uhr. Okay, bin da. Ich würde jetzt ganz gern trotzdem noch auf die Stadtwerkschaft 48 kurz Bezug nehmen, weil ihr habt immer geile Themen und auf was können wir uns jetzt noch freuen? Heute und morgen und bis wann geht es die AUS? Warte mal. Die AUS, wir gehen bis Sonntag 18 Uhr, Freitag 18 Uhr, bis Sonntag 18 Uhr. Und haben Anschlussprogramm am Sonntag auch. Genau. Damit es nicht fad wird. Okay. Und was erwartet uns? Kommt und seht. Naja, jetzt gleich gibt es einen Talk über das Mars Patent. Das ist ein frühes cyberfeministisches Projekt aus den späten 90ern. Da startet der Talk jetzt gleich um 7. Um 8 ist das Contestation Café von Rob Collins. Um 22 Uhr gibt es eine Performance mit einem Pinseloszillat. Um elf fängt die Nightline an, wie übrigens morgen auch. Morgen haben wir drei Talks, die vielleicht das auch noch einmal gut umreißen. Da gibt es einen Cooking and... also einen Add-andm Talk, der in einigen Videos vertreten ist. Da kann man auch Servus.at erwähnen, mit denen wir natürlich auch kooperieren, die auch ein wesentlicher Teil sind von der Stadtwerkstatt. Wir haben da auch einen feministischen Schwerpunkt mit Machine Agency und dann um 21.30 Uhr gibt es auch das zweite Medienarchivprojekt, nämlich 10x10x10 Dinner Performance. Und hier kann introduce now Franz Xaver here and Julie Chang who did the media the performance dinner I'm talking about the performance dinner tomorrow and you collect I think 10 initiatives artists and you make a small a brief history about media You make a small, a brief history about media art. Maybe you can say some words to this live event also? You can speak in German. No, you speak about your inspiration. So okay, because I guess Stadtebis always wanted to do something with their archive, which is vast, you know, vast, a lot. And I think every time we look at that archive, how to select words. And also, I think whenever we look at any archive or a space like Stuttivist, we have to think about the corresponding spaces, you know, like there is a, because Stadivist always collaborating also with other space, going international in the early days and you know, you know, like there's always this kind of correspondence with other places, right? So I feel like making a project more about solidarity with all these other spaces and other artists that kind of have the same kind of work, right? So we started with Zab selected 10 works from the archive, from the Sturtevis archive, and I invited 10 artists or art spaces and then asked each of them selecting 10 works that they think could be representative, not only their work but could be their the media field work, right. So the project is called 10 by10x10 Media Art with Attitude because all these people are quite outrageous and kind of in a different range from the particular mainstream media in a way. Anyway, so it became 10x10x10 Media Art with Attitude. And tomorrow night we will make a dinner courtesy of the KOO here. und morgen Abend machen wir ein Abendessen, auf der Bühne hier, und wir wollen die Diskussion öffnen. Was man auch dazu sagen könnte, was die Stadtwerkstatt da leisten kann, weil sie eben schon 40 Jahre, über 40 Jahre, 45 Jahre jetzt in diesem Bereich tätig ist, dass man einen Faden findet bis zur heutigen Zeit. Was man jetzt im digitalen Medium voll angekommen ist, gibt es über die Stadtwerkstatt doch einen Faden zu finden. Vielleicht auch was man auch noch hinweisen kann, ich mach ganz kurz weg, ich glaube wir sind schon ein bisschen in Richtung 10 Minuten. Nein bitte, ich finde alles proper. Bitte, hau raus. Und wir haben dann noch, also vielleicht wenn ihr nachher noch ein bisschen durch die Szenerie gehen wollt und durch diese ganzen Räume, die wir aufgemacht haben, vom Keller bis zum Haus geht, bis zum ersten Stock, also die Werkstatt. Wir haben ja quasi einen Anti-White Cube, den wir bespülen. Aber da gehen wir dann durch, da kann man vielleicht ein paar visuelle Eindrücke abnehmen. Am Sonntagnachmittag gibt es noch einen Soundfokus. Wir kooperieren auch mit dem TimeLab zum Beispiel. Es ist quasi das Unstable Systems aus Graz dabei. Es ist Pixel aus Bergen da, die irgendwie, naja, kann man ein bisschen beschreiben als, die machen Open Source Sachen, so ähnlich wie Servus und sind auch ganz straight, wenn man von der Attitude spricht, so von wegen technologiebezogene, ganz klar positionierte Initiative und die sind auch mit einer Soundinstallation da. Und vielleicht, dass wir jetzt noch abschließend auf die Haltung zurückkommen, wir hören um 6 Uhr auf und um 6 Uhr hören wir mit Stadtwerkstatt 48 auf und um 6 Uhr fangen die Nachtpicknicks gegen Machtpanik an, weil wir unbedingt dieses Format ins Medienkunstfestival reinnehmen wollten. Also so von wegen, was auch immer, no Pop, no Pop, no Pop, whatever, es gibt größere Probleme, die vor unserer Tür stehen. Also ich finde, das ist ein wahnsinnig gutes Schlusswort. Wir haben leider nicht mehr genug Zeit, dass wir uns jetzt alles mit euch gemeinsam anschauen. Aber bei euch geht es jetzt gleich wieder weiter. Wir freuen uns. Herzlichen Dank, dass ihr euch gezeigt habt für uns und wir freuen uns auf die Nightline. Ronco, auf was freust du dich? Aufs Feiern auch! Wir wollen ja gerne so feiern! Danke! Zentrale!