Was ist der Grund, warum die Partei in der Tat so viele Parteien beteiligt ist? I'm not sure if this is the right way to go, but I'm sure it if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure if I should do this, but I'm not sure موسیقی کسی کاری نداره چونکه مشکل اگه باشه از خود ما هست که مشکل ایجاد میشه مثلا معافضت شده آه معافضت معافضت اینجا باشه یک دفعه سرمان تهاری شد و ویدئوشون هم از پیشه این تهاری شد آه این تهاری شد ویدئوشون هم از پیشه I'm very warm welcome again here for our series here in the Ars Electronica Center, Home Delivery, and a special series about Zuhause mit, at home with. A very warm welcome also to Jastan Sand, who is our special guest today. Jastan, you are a student here at the Art University at Time-Based and Interactive Media. You're an artist, you're a researcher, you're a journalist, you are a sound designer, you are a filmmaker. You brought a film which we just saw. What did we actually see now? Hey, thanks for having me. I'm really happy to be here. What we saw was a small sequence or a small segment of basically my first experience of producing something, like acting as a director or just making something basically, which was the first project I did in the university. I mean, the story is kind of long, but through a dear friend, I got to basically land in a job in Vienna, which was with Caritas. So it was a social work back in 2016, where this, so to speak, crisis, the migration crisis was still hot. So there were a lot of new people still arriving actually in Europe, especially in Vienna. And they, just before we started this project, which we can get deeper into, they had this huge complex, residential complex in Vienna, in the third district, I guess, called Haus Erdberg, so in the Erdbergstrasse. They started this, they utilized it as a heim, I don't know, what's the English word? Yes, a shelter maybe, yeah, or like a refugee house basically and it was it was huge it was a really significant it was really special i would say it was a huge house basically 1 000 refugees were living there temporarily um it was a really big complex with five stories and the combination of all these parties in this house was really crazy. Initially it was a training house or like a military basically house for the border police of Austria. And as far as I understood after the Schengen and also after the dissolvement of this unit in Austria so there was it was empty for a couple of years and there was a there was a police training like a shooting wrench in the building so there were like police officers like going and coming all the time there was the there was a court in the same house and there was a school so it was a sport gymnasium and basically all of these guys had the same door to enter it was it was like a liar cake which i mean the dynamic was really i mean strange and amazing at the same time it would be nice maybe to go a little bit back I mean you were born in Iran you are from Tehran yeah and you grew up there you went to the school there you went to high school how did it actually come that you felt that you want to do something artistic, creative. How was the time when you were a child in Teheran? How can we imagine childhood in Teheran at the time when you actually grew up? I mean, I was lucky to be there, at least in this basically middle-class kind of family so we kind of valued culture like like around me also I had some cousins who were musicians so I was really looking forward actually to them or like looking up to them basically to to see how they were dealing but as a kid I mean in the school time it's kind of really like you are in this teenage kind of confusion. I mean, same, same for me. But I was, I got interested in music because I was kind of surrounded with a lot of musicians. So like that was my first encounter with arts, so to speak. So I got interested in this. I mean, I started to also play a bit of instruments. But when I finished the school, I mean, in Iran we have a different, rather different system. So there is this entrance exam, which is happening nationwide, basically. And after the exam, depending on how good your scores were you have the chance to choose what you want to study i i studied mathematics in the mathematics and physics in the high school so i really didn't have many options too i mean i could have gone for all the engineer kind of courses but i wanted to do a bit like i wanted to go a bit more passionate and not so strict as in engineers studies basically like technical studies so i decided to go a bit more passionate and not so strict as in engineering studies, basically like technical studies. So I decided to go for architecture. But when we met and when you told me that you actually decided to go for architecture, you did then actually something else, right? Yeah, that's how I did it. Yes, I started... This is how life goes, right? Yes, that's true. And I kind of give up to life. Many times I just like... Never give up to life. Yes, Dan. Actually, you can see it from different perspectives. But yes, I started architecture and I was actually really by 18 actually, I started to work in a company in architecture, like a consulting engineer, which they were doing, they were making buildings basically. There was not much of a creativity in it, I would say. I mean, at least for me, because I was not designing, I was just like basically copying and... You worked with architects. Yes. Like constantly. The company you worked with, it was a cladding, it was about like a working or selling actually claddings which was made out of stone. So cladding like Verschalungen in German, also Steinverschalungen für Häuser, so claddings for buildings. So the architects were at least your clients. Yes, that's true. So, the architects were at least your clients. Yes. And then you got the offer to Oman. So, one of the most youngest entrepreneurs actually in Oman, I imagine. Yes, could be. It started with a fair. So, it was a building material fair in Oman, which is kind of a hub because of all the construction also in the surrounding countries like Bahrain, Emirates and stuff. There was a big fair and I was commissioned or like I was that was my mission to go there and participate in this in this fair and we went there and it was it actually went better than we expected so we already had some clients and they asked me if I can go there and start our office I was there for a year I mean it was amazing time it was the first time I was basically living alone living abroad it was a nice experience and we have to imagine that you were around 20 yes 22 something like this I mean you were asked from your bosses of this cladding company to go to Oman, to start this startup actually in Oman. But then you came back to Tehran and what happened then? I was looking for new things that I'm interested in. That's when I decided to do an internship in an audio studio, which was, they were working a lot with also musicians, but also in the film industry. I did an internship there and I got to know the basics of sound design mixing. So after being like a young entrepreneur, you went back to Tehran and then you started your career as a sound designer. And you also brought us a short video about this. Maybe we can have a look into it. We can sneak into it a little bit. چی میگه؟ چی هست به اون دکتور؟ به من بدی نکردی به بقیه چی؟ به من ربطی نداری چه ربطی نداره؟ به من فقط یه چیز ضرب داره اون هم انتقام باباست برای همین دروز حواسم هست دروخ نگو حواسم هست دروخ نگو به من دکتور، بسه من یه وسیله هست زهاب بازه تو چشم نباز چیه؟ ایچه؟ ببین موسی آیی به خوارونیش مارند او از من بدت می آد از اونجایی که بد به خوارونی که بدت نیست یا بالا یا بالا مثلا من از تو بدم می آد ولی از چشمات که بدم نمی آد چشمات خیلی خوری آدم رو چکمات که بعدم نمی آمده چشمات خیلی خوبه آدم به چک می دازه تو خیلی خوبی همیشه افرای خوب می زنی همیشه به خودت خوبی رسید کارت هم یکم بشون کارت چرا امت همیشه دو هم بیده من سه روز بعد تحویل بذارم دوره دوند و گوشت به ها؟ ولی تو خوبی خیلی خوبی O, da būsere, ha? Ali toh fūriti. Chēre nīfūriti. O, tādām hālēs fūriti. O, tādām hālēs chēriti. Yeah, in this example that you brought, you were doing the sound design and not the video, right? No, no, no. I was only doing the sound design. And why was it important to show it to us? I mean, first of all, it is a really famous Iranian myth. The story was an interpretation of the folklore myth of Iran. It's the masterpiece of Iranian literature. The book was written 1,000 years ago or something, so like 800 years ago. And there it was, I think there it was okay to talk openly about what is happening. But now, like for example, the scene that we saw, it was a, basically it was a really intimate making love or sex scene basically but as it is really not possible to to show it like openly um you have to get creative i mean basically it was kind of i mean their dialogues are kind of also revealing like what is really happening but uh so here for example the music or the sound design was uh supposed to implement this idea that it is an intimate moment. I mean, there is some sound or moaning in the background, there's this romantic or even erotic sound. So, I mean, I just brought this as an example that in this sense, these limitations kind of pushes you towards creativity in such context. Absolutely. And you told me also that with this production especially, you started also flirting with what's happening with being a cameraman. Yes, I mean, not specifically with this project, but I also did some short films. And I was like, I had this boom and all these cables attached to me as the sound guy because I was recording the set. But I was always looking at the camera guy. I was basically behind him the whole time because we were moving a lot. I was really looking like, what are you doing? This looks more interesting. I want to do this maybe. And that's why's why i thought hey i want to give it a shot or at least i want to i want to try doing the camera yes cool but i think it then happened that you came to austria at least that you started but how i mean beingheran, working in Oman before, and then actually being a sound designer, and then maybe a cameraman, how does it start that you actually ended up in Linz? That's a good question. I also ask it myself. But... But you know it. Yeah, now I know it. Yeah, like I told you earlier, I started to learn German. So that was kind of the, I kind of limited my options to, okay, I'm going to go to a German-speaking country because of a lot of reasons. I mean, also back then it was really much more realistic to get an admission and a visa and everything because of the this procedures to go to germany or austria because it's and also financially because i mean i could have maybe gone to uk but you have to pay like 15 000 pounds per year or something which was definitely not possible um yeah i started to research a bit about the universities, the possibilities, the academic offers and chances in Germany and Austria. I also applied for some other universities. But through a friend who was studying here already, she suggested, hey, why don't you check out this department? I heard that it is really nice and people are really enjoying it then i looked it up and it was i mean in the beginning from the from the description it was exactly what i was looking for and honestly also after i came and i started it is still like it is really a interdisciplinary in between the areas that i really enjoyed so i'm really starting maybe we. Maybe we are taking it to our audience again. So you are studying at the Art University in Linz, time-based and interactive video with Gerhard Funk and Joachim Smetka. Yes. And but you told me also, and I think we should also tell this to our audience and the people who are actually watching us. There was a small anecdote that happened actually still in Teheran, so before you actually came, so you were already thinking to leave, but then there was this really strange coincidence. What was it? Yes, let me tell it again. I mean, I heard about the idea of, or like the, sorry, but the existence of Linz, I was aware of it because I was researching about the university and how it is going. But honestly, till then, maybe also I encountered the name of Ars Electronica once that there is this cool museum in Austria, but maybe I was really not sure. This cool museum in Austria, but maybe I was really not sure. This cool museum in Austria? Yes, honestly, I mean that's how much as much as people know actually. And yeah, I was once like really casually I was visiting an exhibition in Tehran, one of my rather favorite places, and then there was this, the exhibition I visited, I went out for a coffee to the yard and there was the building just next to it, which was a conference room or a presentation room. I saw some people standing in front of it, and I said, hey, why are you in a line? And they said, yeah, there is a guy from Austria who is having a presentation here. We just want to see him. I was like, okay, Austria, yeah, interesting. I want to go to Austria. Let's have a look. I waited. I went in and that's the twist. It was Gerfried Stoker, yeah, who was having a presentation or he was having a lecture about Ars Electronica, how about the history of Ars Electronica, how it is doing the vision and the invasion of the Ars Electronica. Yeah, that was my first encounter. I was honestly amazed by the like the whole institution and the vision of the institution. Then I was even more motivated. Because of the lecture from Geffrith? Yes, because I saw that well this is... This cannot be such a coincidence i mean this is something uh that is a of a bigger plan maybe that you have to go to that's where i give up to life basically um i mean uh it was um just to mention i mean this was at mosen gallery and this is also part of the as electronic export activities because we were trying to of course get also in contact with Iranian artists, especially also media artists. And we have this very close collaboration with the Ministry of External Affairs, International Affairs. And this is why it was very important for us actually to build up the connection. And this is why also Geffrid was going there. So it was really transported, the idea was transported by the directors actually. So it was very nice that you got to know Geffrid there. And so he was so convincing in his talk that you came then to Linz actually finally. Yes, I mean he really like motivated me more. I mean knowing the whole thing. I mean I remember one thing back then it was that I like I got to know for the first time that Linz was the cultural capital of Europe. And I was like wow this is a good reason. I mean if it was really the cultural capital then it means that there is a lot to explore. And now I think I would like to go back to also the entry sequence that you actually showed us. Because you came to Linz, you started at the Art University with Time Based and Interactive Media. And the first work that, so your first film or your first work that you actually did within the class was this documentary about these asylseekers place in Erdberg in Wien. Yes. It was the first time that you went into a documentary. Yes. Right, so it was the first time to have also the journalistic approach. Yes. Because this is something that is also I think one of the characteristics in the way how you think and actually also how you see and how you actually mediate the world, right? I got interested in following this perspective, to hear people out, to see how they think, to see how they work, to see their background, to hear their experiences. That's really amazing. And actually, afterwards, I kind of only, like, I stuck to documentaries. I stuck to documentaries. So I immediately felt that, OK, this is my thing. I want to do this. Because there are so many stories that, I mean, even as, because later on, I mean, also as you mentioned, my Bachelor project is about a real famous artist. I had the pleasure to know him. I mean, even as a famous artist, when you are filming with them, when you are traveling with them, when you are traveling with them, when you are alone with them, they start to open up, they start to tell things that, even in their artworks, it's not reflecting directly. So I found this chance to be there and to catch these moments and reflect them. I see this as a chance for a filmmaker or for a documentary maker. Yeah, and I think this is also especially your way that you would like to follow because you mentioned it already now in your Bachelor project. Actually, what is the name of the artist that you were working together, or that you actually are documenting? He's called Hossein Maher, he's a master, he has you know hundreds of students and everybody loves him, I also really immediately loved him. I mean I definitely learned a lot also doing this project with him, I had the privilege to travel with him, to really spend some time together. And also, I mean, a lot of things, I mean, there are books about him, there are biographies about him, but still, I mean, also maybe as a film, but never a documentary about him. So I was really, I was lucky to be able to do this. And you were traveling to the south of... To the south of Iran, yes. I mean, if we... Like, I also brought another video, if we have a quick look, because he... Like the whole topic of the documentary is a lot about recreating memories or visions visions and how reliving these childhood memories actually is inspiring him through his career. And also he is from south of Iran, so that's why I thought that's an amazing opportunity to travel with him to south of Iran where he inspired the most. Yeah, maybe we can... Yeah, let us travel to south of Iran. از اینجا باید برداریم باید برداریم باید بر جایی که با این برمی خوردم برای من یک تخیلی را ایجاد کرده بود ماهی به لحاظ معنایی خیلی گستردست در ایران این ماهی ها در حقیقت یه جورای خود من بودن اینه نگار پوست منه تنده بودن دردناک بود و نمیتونستم چیکار باید بکنم میتونم بگم که من نکشیدمشون اینها کشیده شدن به وسیله من شاید این تعریف درست تری داشته Basically, he showed me a lot of the references that inspired him through his work. We visited amazing locations, we visited also a lot of spots that he used to go there as a 20-year-old or even younger, just sitting among the people and drawing or making sketches and things like this. The interesting thing, because it kind of woke something also in me or triggered something in me about this identity crisis or this attachment to your cultural background or even to your dialect and things like this. So it was an amazing experience. Because I think they moved out of this area, or they moved to Tehran when he was three or four or something like this. But it kind of followed him. And that's when he thought he has to go back to it. Otherwise, basically, it's nonsense. Because he felt this attachment. And also, it kind of triggered this part in me to also look look to mine or at least to protect this attachment to this because i think if you detach from this um you are lost or you're at least really confused so attached to your history where you're coming from from the this kind of importance of the memories that you still have so to have the possibility to recap or reattach or re-relate to it and you brought yes a small present like we are asking all our guests now to bring us a small present as a small souvenir for our home and I have to try it. And Jastan, you just told me that it's not a religious thing. It's not. Why women wear it? It's just women, right? Yeah, it's definitely only for women. And it is a big part of the aesthetics. And it's a big part of the culture there. I think before this, or like 2000 years ago, there were, at least in the cities or in the big civilizations, a lot of cities, women were having some sort of... I mean, even Jews, they had some sort of... So it's not a... But this is definitely not a religious item. It's more of an aesthetic and cultural item. But I would like to highlight, because this is also very much related to just currently what happened to the Ars Electronica festival. related to just currently what happened to the Ars Electronica festival. And I think what we also at Ars Electronica can be super proud about is that you had this very nice idea of doing another form of documentation of the festival. Everything started when Joachim Smetschke actually made an appointment between you and or arranged an appointment between you and and Gerfried Stocker and then you had the possibility to show Gerfried actually what you are doing and and you offered him also this so I mean I have to say that you are the one of the fathers behind the idea or the drivers of the idea of home delivery at all. So you with all your knowledge of filmmaking, of documentaries and so on, also to Hausewith, I can remember the first sessions we also did together. Is there your work with Ars Electronica? Can you tell us like how you came to this very nice idea of the documentary that you did and why this is so important also for you to elaborate on this? Yes, maybe just really shortly about the background. Basically, I'm working here since 2019, so it's almost two years basically. And I had the experience to be in the festival, like being amazed in the festival also for more than two, three years now. And that's why like my basic or initial approach to the festival was like to document it, to talk to people, to see how the whole exhibition came together for people who were not there basically have an idea how it is working, how it is curated, how, like, what is the main topic, what are artists talking about? So that was my initial, or now I would call it primitive, approach to basically reflect what is happening, or like, from my perspective. As you know, like, beginning 2020, so everything started to kind of change or to dissolve into other things. And that's when like we started with home delivery in general to broadcast, to film everything, basically to make it accessible for people who cannot be physically there, which is first felt really strongly after the lockdown. Then the festival 2020 was coming up and it was just like, okay, so there are hundreds of cameras all over the place. It's going to be live broadcasted everywhere. So then it really didn't make more sense to just reflect the reality. So I felt that now it's the time to maybe go a bit further or a bit deeper into the, or at least from another perspective, that we could kind of reflect the whole situation of how this is happening. Or also from the perspective of an artist. Okay, now we are encountered with a new situation what's the way that we have to deal with it who's supposed to basically define the way that people should interact or should survive in this kind of situation so a few weeks before the the festival I was trying to figure out, hey, what can I do this year? Because it definitely cannot be as the last year. Then the idea actually developed, I mean, of course, with a lot of your help, because you were kind of my mentor from the beginning, that we would, like, basically the initial idea was to have protagonists, to have some people that we follow, that we see the whole festival from their perspective. And that's when the amazing duo artists depart. I got to know them from this program, actually, from you. I got to know them from this program actually, from you. And we started negotiating about if they're interested and they were so nice and amazing to help us, help me with this. And yeah, then it was like a really short notice, really intensive, basically one week of work. Yeah, I mean, I said yes, I want to do it. I was like, I talked to my, to Christopher Zonlighter, my boss, that hey, I want to do this. And he was like, are you okay? I mean, you want to make a documentary in three days? And I was like, yes, I want to do it. Yeah, kind of, I kind of encouraged myself to do it or just like basically really like jumping into this cold this cold water, because I never tried it. I think this is such a nice idea, because having this coronavirus, having this pandemic reality, and knowing that we and all these artists, we all have the same situation but some of us are really suffering a lot, especially artists, especially artists that don't have the chance to perform again, musicians, artists who are performers, who are actually on stage and who actually need an audience in order that they actually can do their work. So I think it was really, really great idea to start this documentary through the eyes of artists in a pandemic reality. But with all the challenges. And I think this is it's also quite difficult because I mean, there is... How was it for you? I mean, are they immediately, were they immediately saying, yes, okay, we will do it because it's also something like very private things that have been shown, very private situations, very intimacy was a feeling that is actually very important also for this documentary, right? Yeah, of course. I mean, I'm really glad that they were our protagonists because they were really open. They were, I mean, I don't want to say cooperative because that's more of a subjective thing, but they added a lot to the whole thing. I mean, basically, we counted on this authentic interaction with them. And from my perspective, it's worked pretty good because this duo, they are coming from different backgrounds, so to speak. I mean, they know each other, they're working with each other a lot, but we see again in this duo, we see different perspectives towards the lockdown or this pandemic, because one is, one was always working from home, the other one is a stage artist, is a musical artist that is on the stage for a lot of time. And then he was much more impacted. But he found his own way to deal with it. And this was, I think, the main thing. I think a good point to, like, worth mentioning is that, as we see now, again, we are in the second lockdown, so to speak. This might occur even more. So I think what I tried to reflect was that, okay, this is not a one-time thing that we just survive it and then everything goes back to normal. But it needs some innovation. goes back to normal, but it needs some innovation, it needs some new approaches, basically, to be ready, or not to be ready, but just to be flexible enough to know how we're going to deal with all the things that we never thought about so far. Like, I mean, I never thought that I had to stay home for, I don't know, one month. So this is something that, I think this was the main point. And as we see it now again, this is an ongoing thing. I mean, hopefully it's going to finish as soon as possible. But so I think we should see the bigger picture. And I mean, this basic idea, and we will see it in the documentary afterwards, but this basic idea seeing the Ars Electronica Festival, Ars Electronica Festival 2020, which was a festival that was highlighting different places in the world and the world was celebrating Ars Electronica festival with us together. And you were doc... the question is like how can you document a festival that is actually taking place online and you had this very nice idea in going in very in a very personal view out of artists, Austrian artists. It was Gregor Ladenhauf and Leonhard Lass from Die Part in Vienna and you were actually following them in every step in the preparation for the project that they did at Litz Main Square and but documenting actually the whole festival with their participation because of course they also Participated in the animation festival because they got the golden they got an honorary mention there they participated in a symposium you were actually following him when they visited the Johannes Kepler University and exhibitions there but also other places in the city that has been part of this year's festival so I think the idea of showing the whole Ars Electronica festival by the eyes through an artist that is actually participating. But when the festival is actually taking place online, I think that's just a great idea that you had. And we're very much looking forward to seeing that afterwards, the documentary. And I have two last questions. Just maybe before I add something else, because like regarding what you said i think because we also sarah petkus is also a big part of the documentary because she was our she's like a loyal fan or a loyal artist or a frequent artist of the festival so she was always participating in this um american artist also media artist installation artist. And basically, so we try to use or like utilize basically the bigger picture in the sense that the part as the Austrian duo who basically, who have the chance to be here physically because they live in Austria, they live in Vienna, but it's really easier. But for our international, even participants, to be here physically because they live in Austria, they live in Vienna, but it's really easier. But for our international, even participants, like as an artist or visitors, so basically it was not possible. And that's why the whole festival adopted in this direction of being online. So Sarapetkus is reflecting this, the other side of the equation, basically, which is the huge international audience or circle of people who always came to Austria, had their experiences and yeah I think hair being there was a good balance of showing the bigger picture of how people perceived it also from the online perspective and also how people who could physically be there experienced it. Let me immediately jump to the last question before we see the documentary and this is of course the obligatory last question. What does what does home mean for you? Yes. I mean, it's really amazing how it sounds like a simple question, but it's really a complicated thing, I would say. I mean, first of all, I think home or being home is more of a feeling than a physical place, of course. It's just, I mean, that's also really amazing. I mean, this was a question if you were asking, I know the biggest philosophers of 100 years ago, they would have answered it really immediately. It's like clear, you know? So I think this whole concept of globalization and the media and everything make it really hard to answer. For me, every time I think about it, it just gives me an identity kind of crisis. I mean, of course, home is where you are looking for what to go back to or to return to every day. I mean, let me just tell you my experience, like, after going through the migration. Sometimes when I go home, it's the same apartment, basically. I feel definitely at home. I feel comfortable. I feel even loved. I feel happy. But in two days, in the same place, I don't feel like at home. So I think for me, it's more of a dynamic, fluid feeling. I mean, of course, as we mentioned earlier, I really would refer to culture to where I was born as a string that I would like to go back to at some point. But for For me it's really a fluid feeling. It just changes every time. Now home is Linz actually. Thank you very much, Justin. Thank you very much for participating today. Thank you. Thank you very much for joining and taking your time in joining us at Zuhause mit. Please follow us also for our next sessions. We already had interviews with local artists like Irene Bosch, like Kike Enrique Tomas, like the Deep Heart Collective that was just mentioned and so on. So please check it out on our YouTube channel, like us, subscribe, help us to tell the world about this wonderful artist that we actually have around Ars Electronica or in the context of Ars Electronica hier in Linz and apart, so it's not only Linz, it's Upper Austria, but it's also Vienna. And hope to see you soon again. Ciao, ciao. Fuck. Machen wir das ohne, dass wir irgendwas kaputt machen. nicht so gut wie die andere durchmesser frage scheiße Scheiße! It's weird. My name is Gregor Ladenhoff. I am a composer, producer, sound artist, musician, whatever you want to call it. Most times I just say I'm an artist because I do other stuff as well. other stuff as well. My name is Leonhard Lass, I'm an artist and user experience designer and nowadays I spend most of my professional life also with kind of a split personality. My commercial work is dealing with very sophisticated interfaces and data visualizations and my artistic life is very poetic and audiovisual and moves between disciplines. My relationship with sound, I mean that's the thing that I mostly say because I think it's very romantic, is I was born at exactly 1800. That's what at least my mother told me is that when I came out of the birth canal, the bells were ringing. So I really have this affinity to bell-like sounds. So I guess maybe that was my initial moment. My artistic work is there for me to reflect on something, or to try out something that interests me and dig deeper, and really have the space to dig as deep as I want, and really get lost in the undepths of it. From art history, you would always call things like that mixed media, because it's, yeah, there's sound and there's something visual, and so that was always mixed media. And then somehow when technology got more involved and computers came into it, it started to be multimedia. And that's what our studies were called, multimedia arts. But then again, I never hear anybody say multimedia anymore. This, my 40 hours work week is spent in front of a screen meeting with international teams in anyways. So there was not much change and there was also not much insecurity of if this would go on and so yeah so and Gregor had to deal with all of that so all of a sudden everything that he used to do was impossible and there was no perspective either so he just now he doesn't know when it will continue when it will start up again for real. Because what's there now is kind of also just a limited last chance, because in winter it will get worse again. And we all know that. And yes, he has to make a living out of that. I didn't expect to be that much impacted by it. I thought it wouldn't be that much of a problem but eventually I found out that the aspect of not being able to meet people after the studio in the evening or just have social interaction, it really drained me of inspiration I would say. And I tried to sit down and write lyrics and nothing was coming out. I didn't know this situation before. And after I found out that there's other people struggling with this as well, I was like kind of more relaxed and then it started after the lockdown, lockdown, when you could meet people again, it started to develop in a more relaxed way again. We are working together for 20 years as the part. So we speak our own artistic language and we know how to communicate. When I prepare stuff I already have Gregor sitting on my shoulder and I know how he thinks and he works the same way. A lot of the stuff that we do, I guess, is dealing with the duality of our lives. A lot of things that we have in our lives are dual, even though there is no duality. I think what we're trying to do a lot of times is take this polarity or duality of life and put it back together into one. Doppelklick? Ja, jetzt ist es da. I'm still laughing. I'm doing that. Getting there. Yeah. Maybe it's not even necessary to explain an artwork because I can talk about it, but what I want to is people to experience it. For this work we are very interested in these weight objects, like a cloud, that do not have fixed boundaries, where you have the feeling that if you zoom in ever closer to the boundary it gets lost. You cannot pinpoint it. On the other hand, there are these baroque structures that feel very heavy because they are always too huge and so on. But they depict some objects that are extremely like clouds. Sie zeichnen Objekte, die extrem wie Klauen sind. Diese komplette Tension zwischen Konzepten interessiert uns sehr. Ich bin Ministerin für Heimatschmutz und internationale Affären. Und das schon seit der Regierungsangelobung Kurz-Strache damals, 2017 im Winter. Und besteht natürlich noch immer. Ist das Ministerium direkt im Heimatschutzministerium? Nein, wir sind ein eigenes Heimatschmutz. Also wir sind eben für die Nesbischmutzer und für den Dreck da. Ich glaube, da gibt es viele Verbindungen und wir hatten auch schon mal so was wie einen Flashmob, wenn ich nur denke, wir haben einmal, weil in Wien ein... Apropos. Ah ja. Geht ihr weg! Masken, Masken, Maske, Larven absetzen. So ein Kurzsprech. Na geh her, doch, doch. Na aber zum Beispiel, wir haben einmal, da haben sie in Wien verboten in der U-Bahn zu essen und zu trinken auf einmal. Und da haben wir dann auch eigentlich Flash-Bob-artig ganz schnell einen Speisewagon in einer Wiener U-Bahn errichtet und haben so Schnitzel serviert, aber recht heimlich immer gegessen, ja, und geraucht auch. Kinder, die sind ja heutzutage wirklich saublöd, die haben dann gesagt, schau Mama, die essen, das ist verboten. Die haben uns denunziert, die wollten uns verraten. Die Eltern haben dann eh gesagt, die auch, mhm, so, gell? Ja, ja, so war es ja. Naja. Aber sonst kriegen wir schon viele Reaktionen. Ja, Watschen, Anzeigen. Es ist immer ein freiwilliges Angebot, so wie jetzt auch die Arbeit. Du zwingst niemanden da jetzt rauf zu klettern. Es gibt ja auch solche Arbeiten, die ich problematisch finde. Aber ich glaube, Kunst im öffentlichen Raum kann im besten Fall irritieren und auch vielleicht einmal ganz für eine Millisekunde eine Sehgewohnheit verändern. Man hat es eh schon viel erreicht. We entered the Ars Electronica competition with our VR piece, the Entropy Gardens. So we of course thought when we heard that we have an honorary mention, we thought okay maybe we can exhibit the Entropy Gardens, but it was completely different thing that mit den Entropie-Gärten, aber es war eine völlig andere Sache, weil das Waldgebiet eine Teil der Kunst an der Kunstuniversität ist, an der Universität der Kunst, und sie fragten uns, ob wir etwas mit der echten Universität machen könnten. mit der Universität. Aufgrund der ganzen Situation mit Corona haben wir uns gedacht, es gibt so viele Unis oder wir haben es einfach bei unseren eigenen Studenten und Studierenden gesehen, es ist so schwierig irgendwie auf der einen Seite Arbeiten zu bekommen, die in der Zeit passiert sind, weil die Studierenden so unsicher sind. Also das, was ich gemacht habe, kann ich das überhaupt ausstellen und so. Und wie wir aber dann die Partneruniversitäten angeschrieben haben und gesagt haben, hey, schickt uns die besten Arbeiten, die im letzten Semester entstanden sind, dann waren, die haben total super reagiert und haben dann gesagt irgendwie so, hey, wirklich, es gibt die Möglichkeit, dass die Studierenden was ausstellen können. Wir haben zwei, drei Arbeiten, wir stellen es euch vor, wir schicken es euch und ihr sucht euch etwas aus. Und genau so hat es funktioniert und es sind sogar Studierende gekommen. Es ist wie eine Verbindung zwischen Materialität und Immaterialität der Internetseite. Danke. Welches Universität? Namba von Milan, es ist ein you from? Namba from Milan. It's a new academy of fine art. Ah, okay. It fails to fascinate viewers, especially because of its enigmatic and equally unknown use. Actually, without ever being certain, the artwork never fails to fascinate viewers, especially because of its enigmatic and equally unknown use. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. artwork never fails to fascinate viewers, especially because of its enigmatic and equally unknown use. It doesn't bend. Well. Wait, wait a minute. Warte mal kurz. Kannst du auf die Pedale steigen, Julian? Das ist besser. Ich brauche das nicht, wenn wir das haben. Wir warten nur alle darauf, dass man wieder kommen kann. Schauen wir mal, ob es funktioniert. Du kannst es auch in Japan machen. Du hast da auf dem Screen die Kamera von Japan und dann bläst in Japan Seifenblasen. Darum sind wir froh, dass wir wieder offen haben, weil dadurch das wieder passiert. Auch eingeschränkt, aber es ist auf jeden Fall besser als gar nichts. Und was uns interessant vorkommen ist, ist das Thema Maske. Wo man sich am Anfang gedacht hat, das wird bei uns überhaupt nicht funktionieren. Wer geht denn freiwillig in ein Museum, wenn er Masken tragen muss? Das hat sich in den letzten Wochen, Monaten eigentlich so massiv geändert, dass das überhaupt kein Problem mehr ist. Und im Gegenteil, es ist so, dass die Leute sagen, ich gehe natürlich mit der Maske hin, weil ich möchte das für mich sicher, ich möchte aber insgesamt das sicher machen und das funktioniert eigentlich viel besser als erhofft. Sicher, sicher. Jetzt weiß man ein bisschen mehr, die Leute können sich daran anpassen. Es gibt so quasi ein Risiko, das du einschätzen kannst. Und jetzt trauen sich die Leute und das ist wichtig, dass du zumindest weißt, okay, in diesem Rahmen seid ihr halbwegs safe. Und dann aber ja. Und eben auch das Zeichen, dass du sagst, du musst die Kultur wieder aufmachen. Ja, natürlich. Du kannst nicht sagen, jetzt machen wir noch länger zu und jetzt warten wir noch bis zum nächsten Frühjahr, vielleicht wird es dann besser und vielleicht wird es dann besser. Und auch den Künstlern die Chance geben, dass sie wieder präsent sind. Siehst du diese Klammer da drüben? Diese Pillar? Ja. Das ist der Pestzimmer. Einer der Hauptsitze in Linz. Und wir werden das als unseren Hauptreferenzpunkt haben. the pest soil, it's like one of the main sites in Linz and we are going to have that as our main reference point, so there will be smoke and light. And this is the actual piece that's starting here and there are trees in our way so I'll move back a bit. Can you pick up anything? Um, yes. Yes. Now meet Gregor. Hello. This is the guy responsible for the sound that you unfortunately couldn't hear but maybe we can send you a proper video afterwards. And I can't hear you. Ah yeah and he can't hear you. Let's share. Hey there. Let's share! Frag du auch noch was, damit der Taste passt? Alleine schon. Aber ich brauche dann Space, die musst du mir dann nehmen. I mean, I need space, you have to take me out again. Yesterday someone pointed out to me that she felt that the situation on the half-blocks with the play column and our projection on the Kunstuniversität is kind of overwhelming and we use these overwhelming situations a lot in our work and she compared it to the fact that baroque aesthetics are also very overloaded and overcrowded and overwhelming a lot. We labeled it the baroque and roll. So yeah, please come to the hot spots at 8 9 or 10 it's a performance lasts about 10 minutes and yeah it's very site-specific so yeah hope to see that it is nice to see yeah it is very nice and it's also extremely cool to see. Yeah, it is very nice and it's also extremely cool to see this new location. Absolutely. And don't imagine how it is when it's raining. Yeah, I mean, it's a pity in the city you do not feel the us spirit, you know. The international people are so missing. Yes, this is what I say like every second sentence and I mean it. Every cell of mine means that I'm missing traveling and I'm missing the crowd. In Linz it is that the entire city becomes the festival. So and that it's not just us doing it, all the influences of the independence of the other institutions that are making the cake of a festival from my point of view where you are losing control and actually we don't want to have control it's also about the shared situation that's never been the case like a pandemic a global situation where everybody is kind of in the same boat yeah we all have to rely on those new like virtualization techniques so we kind of can relate immediately and we need to like figure it out for ourselves at least for the next like half year. In the catacombs of this Kepler Hall which is the epicenter of some exhibitions too we have our world studio that this this this slingshot hub that that gives you a temporary moment in the digital for organize for yourself organization and then it throws you on a journey exactly so represented by those tables here are the four streaming channels selection channel they're going live soon and here we have like target show format a new world channel where you have live broadcasting from the stages like from the outside stage or the kepler hall stage channel garden channels and voyages channel where we have a huge program especially coming from the different partners all around the world and they are streaming live in from the partners and then live out onto our channels the imagination that out there these more than 160 partners when you're saying now we started and you don't feel anything but after imagining what is going on, what you trigger on this other side triggers so much energy and emotions on these 160 spots all around the world. Bringing our approach of innovation on a place, you know, this alternative approach with this critical artistical thinking on a place like this and bringing this into contact with this academical very clear structured way of how in which didactic innovation has to be established bringing this like in an exchange is I think at the big big benefit between the two different positions and it makes two different positions to one bigger and higher position from my point of views Das macht zwei verschiedene Positionen in einer größeren und höheren Position. Ja, aber ist gut. Ja. Bei unserem Robo-Psychology-Lab geht es ja sehr heutig in der Forschung um Mensch-Maschine-Kommunikation, um Vertrauensaspekte. Wie ist das eigentlich, wenn man gemeinsam mit künstlichen Intelligenzen Entscheidungen trifft? Und um zu erforschen, unter welchen Bedingungen Leute KI-Systemen vertrauen oder vielleicht auch nicht vertrauen, haben wir dieses ganz neue Virtual Reality Game hier kreiert, das heißt Serum 13. Das heißt, es geht um ein Serum, das du in diesem virtuellen Biotech Lab herstellen musst. Für uns, auch für die Forschung, Interessante ist, da gibt es einen Spielpartner, der sich immer wieder mal einschaltet, das ist ein KI-Assistenzsystem namens X21, das mit dir reden wird und das dir immer mal wieder Entscheidungs-Empfehlungen geben wird, Tipps geben wird. Und deine Aufgabe ist es, dass du aus dem Bauch heraus entscheidest, willst du in der jeweiligen Situation diesem Algorithmus, dieser KI vertrauen oder willst du doch lieber selber entscheiden? Es ist natürlich für uns eine funktionale Forschungsumgebung, in der wir verschiedene Faktoren variieren und manipulieren und dann schauen, wie sich diese verschiedenen Faktoren auf das Verhalten der Spielerinnen und Spieler auswirken. verschiedenen Faktoren auf das Verhalten der Spielerinnen und Spieler auswirken. Uns geht es natürlich nicht darum, dass wir erforschen, wie können wir künstliche Intelligenzen gestalten, so dass wir denen immer oder möglichst viel vertrauen. Weil das wollen wir endlich an die JKU gekommen ist. Und irgendwie fragt man sich heuer, warum ist das eigentlich nicht schon längst der Fall gewesen, oder? So ein tolles Gelände. Ich habe es überhaupt nicht bekannt davor. Es war so überraschend, wie ich gestern hier angekommen bin. Das ist echt cool mit dem Park und so weiter. Man spaziert echt so irgendwie so zwischen den Disziplinen und dann gibt es überall diese neuen Verbindungen. Frau Bundesvorsitzende, wollen Sie vielleicht ein paar Worte vorab zu Herrn Tiefenthaler richten? Herr Tiefenthaler, Stramm gestanden. Die Frau Ministerin fühlt sich geehrt durch ihr Lob und zieht sich in die Lage. Und ihre dreckigen Witze immer. Genau, und ihre hinterfotzigen, dreckigen Witze zu belohnen. Frau Ministerin, ich bitte Sie. Es ehrt und freut mich sehr, Ihnen, Herr Tiefenthaler, die goldene Verdienstmedaille des Bundesministeriums für Heimatschmutz und internationale Affären zu verleihen. Wir können jetzt keine technische Einrichtung machen. Das ist ein hochoffizieller Akt. Applaus! I'm going to go to the bathroom. The poor student can't get along because they are deemed, because they're so known to be too risky. That cut them off. The use of racism in the United States. The denial of civil society. I'm going to play my first streaming live gig at Ars Electronica now. I think it's more of an exception to the rule. I think it's more of an exception to the rule. For me, a live situation is some energy exchange between the audience and whatever I do on stage. And this energy exchange is completely lost when doing a streaming thing. I don't really see that as a way of expressing myself a lot, to be honest. Thank you. Oh, this one. This guy right here. What is this? What is that? Yes, hello, Middle Feet. This guy is empty right now because we are currently working on his brain. Middle Feet is a adolescent space probe. That's how I view him. His dream is to one day go to another planet and explore and taste all the rocks that are there, because that's what all space probes want to do, right? The first things Mark and I tried to teach Noodle how to recognize using his new, like new self-contained brain. we wanted him to recognize a COVID, you know, like a... one of these. COVID shape, right? once we get the software working, he'll be able to be irrationally paranoid about COVID just like his parents, irrational is not the word compulsively on his mind like his parents, yes compulsive so what did you catch of Ars Electronica Festival, what did you see? I appreciated being able to see everything like not having been there not actually being there in person. It just, it was a little bit jarring to not, you know, be able to see artwork in person. How many times have you been to Linz in person? Four. What time? Yeah, yeah. So I uh, I don't know, I have like this kind of, I love Linz, like I love coming there and seeing it and my head is sort of got this image of what the festival is locked in, like the, like going to the Oka Center and going to Post City and walking around and having that Alice in Wonderland sort of experience of going down in the bunker and having, like, finding things that you don't expect. Half of it is really the expectation of that and not have all these other layers included in the experience. Oh, the batteries. Hmm? Call ended. We all together started this festival with a very nice project, Empty Chairs. It's a symbol of what we were aiming to do and I think achieving really in a wonderful way. Creating space for each of us, providing space for our audiences, for the art and for the society. Empty chairs as a symbol that we want all of you to stay in our network, to come back, to fill in the empty spaces.