Hello to this exhibition from Interface Cultures at Ars Electronica Festival in 25. Hello Linz, hello world. Hello world is actually exactly the situation because Interface Cultures is a very international master and we have students from all over the world and this year we have the topic of post human resources. Yes, so this exhibition started already in June in the Kunsthune with our first year students. They had the first setup in the Kunsthune at the VHA gallery with many works. You have the posters outside and they're also represented in our folder. And post-human resources, you might think, okay, what, my God, what is a post human resource? Okay, human resources, human resources department, we know somehow it's about people. But what is post human resources? And I think this is exactly the question that we want to ask in our exhibition when we talk about, is this now a question when it comes to optimization? So how do we have to function? How do we have to be? How do we have to exist as post-humans so that we might actually function better, that our world is functioning better? What does this post-human resources actually mean? Yes, so the topic and the title for exhibition I think it developed quite naturally since we are a department of the university and we are more and more triggered by what the future jobs could be, what the university also should be. Human Resources is a department that is present in every company and university. Here at Interface Sculptors we try to think one step forward and thinking about how the students also entangle with their surroundings, with the objects that they find around their working spaces, with topics and with the technologies that they are working with. So we don't see these technologies and these objects and this environment as mere instruments and tools but also perhaps as collaborators also and as co-authors. So yeah, we try to not have a top-down approach on this development but try to also like invite and make new friends along the way. So very warm welcome to our post human resources department. And maybe this is not a time also to show you one of our first works. And may we ask you, Ayubi, that you introduce yourself and that you tell us maybe in three or five sentences about your work. I'm Ahmed Ayubi, artist from Egypt. And my work here responds to the theme, panic, yes or no. I am trying to, we as artists, we tend to criticize capitalism. We as artists, we tend to criticize capitalism, but from my point of view, capitalism doesn't listen and doesn't reply back to us. So I'm trying to communicate or talk to the artists, also to the art world and to myself. In my work, Open Haima AI, I map how AI big tech, they are involved in both in military and art as well, and how these companies, they are invested or involved in art to get social validation or, as we say, art washing. So my work is about this, the tools I use, and how I, as artists, also part of what's happening in the world. And these companies, they put a lot of money and investment to kill people, and also I use their tools. So I'm trying to map this, to see how my position as an artist from what's happening in the world now and this is through my work and through my research. That's it. Yeah, thank you. Thank you, Ayubi. We were discussing also, it has a lot to do also with your background, I mean you're from Egypt and I think also your view on all these technologies and how they actually interrelate to each other and also how they define actually your future. So thank you very much for your explanation. The next work is a collaborative work between Jimmy, Emma and Till. It's called Dream Atlas. It's actually a project that happens, I think, on the smartphone, but it has a representation here with an object and a display. I think Dream Atlas is a growing map or constellation of collecting dreams and representing them and showing people how we are connected through this world of dreams and in Dream Atlas you can explore this world let's say and through the platform and for the exhibition we built this instrument which we will explain soon i think also Till can give us insights about what's happening when people or how this works a bit basically a dream, so a big collection of all the dreams we've gathered from people that have visited the website. And you can see here maybe when a dream is very similar to other dreams, it has a lot of connections and it gets bigger. And by uploading it, you can immediately see the dreams of others that are close to yours and kind of hopefully connect through that or find that you're not alone in what you're dreaming. Dergo itself is the platform and what we are exhibiting now are instruments to explore this digital content and this digital constellation and for instance here we have a dashboard and it shows in real time what dreams are uploaded and it connect them to the content of the other dreams present and showing the similarities and the other object that we have to go through this dream bank is the telescope that works exactly like a telescope so you can look inside you can zoom in you can move around and explore the constellation this project is also working on the phone so people can i guess log in and also like upload their dream. When someone uploads something we can see this is kind of what they see on their own platform. Thank you. One second we should see it here. Yeah, there. So then we also added a little analysis that takes into consideration all the other dreams from other people, which for now is mainly friends of ours and people in Linz and environment. Mehmet is a sound engineer and he has this very literal sculpture of the medium is the massage, right? The title is Embracing Sphere and it's basically a tactile interface that you can hear a story when you sit on it. I can give you the headphone. And I have a small story to tell, and I developed this seat, and it has some bass shakers and actuators that can make you feel the environment in the story. Is it good, Manuela? That's unfair. Oh, I close my eyes. She's just enjoying. I just started, so I jumped into a, I think it's a car. Or a tuk-tuk. It's actually vibrating a lot. And it's, yeah,'m i'm making a tour so it it sounds that i'm somewhere outside or a street i hear also other cars and it's oh now it stopped i can't it oh i'm somewhere else my god i I think, a stargate. And I feel these vibrations, and there's a synchronization of sound and vibrations at the same time. And actually, everything is... The actual story is actually happening only in my head, I think. Somebody's talking to me now. Wait. Okay. Okay, I'm in another universe now. Maybe I'm a little bit loud now, because also I'm invited in a new environment here. That's cool. I'm actually in space. Oh, thank you so much, Mehmet. So it's a cinema. It's a cinema. It's like a 4D, 5D. I mean, smell is still missing, but it's like in a cinema. But actually you're missing the film because the film is just taking place in your head. You just hear something and you get these different vibrations and they are also very diverse. So it's not just like one scene or one form of vibration is actually different. And you connect it immediately with the stories that you have so it feels different also, differently. Wow, cool Mehmet! I have to say that it's the first time that I've experienced it in this way. It's really cool. It's also nice when there are some projects that transcend the screen so that you can also use your own imagination and your own creativity yeah you know i mean we you were developing this now for the last half a year and it has a different it mutated yeah it has different forms of stages let's say and very nicely done it's very it's actually a nice place to come down and just to to trigger your own images and films that you actually have in your mind thank you very much Mehmet. Is that right? Yeah. Thank you Mehmet, thank you very much. All right so now we are moving on into our next project by Shixin. Shixin is an exchange student that joined us this year and she's also represented here with her project, XM Acknowledged. Would you like? We are very proud that we also have Erasmus students with us every year. And also in Jokers, I think we have a lot of Erasmus students also from Milan. It's really nice that you actually came to Interface Cultures this semester and you have an amazing artwork. Actually, the installation is about how you deliver your voice and how the system evaluated it. And it aims to like frame the abstract concept, the system, into a tangible physical multi-layered structure. And the installation invites the audience to step into the experience that when an individual faces a huge system and the powerless, the absurd and ironic feeling when the system is rejecting or evaluating your voice. Yeah, actually the individual, the marginalized group means a lot of things when it comes to different specific contexts, but in this context I talked about the women so the experience is basically like you can read the token and you can pick one of the voice token and you can drop into the entrance and then press the button to deliver the voice and then you can read the feedback from the system okay may I also try it again so these are these tokens from you i pick a choice it was neglect but they discussed it as freedom let's see what is happening and how these decisions having an influence and where it's where it's? Welcome to the system. Acknowledgement complete. The information is sufficient for entry. The request moves to the next review. Okay. So categorization. Submission is recorded. Several essential fields remain incomplete. Or the request cannot be processed further. And categorization, this is why it's rejected. So how is it possible to come to accept? It's not possible because it's like an ironic way to frame the system. Yeah, it's predetermined. Exactly. And I think this is also very nice to start to reflect on these categorization systems and how we actually as persons are actually categorized. So, beautiful work. Thank you so much. Thank you so much. Okay, next work. So, next work is Hanif. Hanif, thank you very much. Would you like to talk a little bit about your mirror project? Yeah, sure. For this project actually I was inspired by the symbolic meaning Jam Jam-a-Jam, in Persian myth, but actually it has several meanings. In myths, they interpret it as a magical piece of tool that can show us the whole of the world and truth. But then the interesting part for me was how in poetic they use it, not as outer things, but something that can be revealed through inner understanding. Then I thought, okay, how AI can help us to self ourself or how we reflect ourselves through a piece of technology. And it's like, it's kind of opposite of the self-understanding, but then I was trying to make these two mirrors of humanity to talk to each other, to see how we can understand ourselves through lens of AI, which is kind of a mirror of collective human knowledge through distributed cognition. And yeah, then practicality, I try to use with the play with the scales. So, yeah, I have like three states with different distance of users, and I try to generate things through prompting from macro scale to micro scales. Yeah, that's it. Beautiful. Thank you very much, Anit. In our Master's program we have students that are either developing one work per semester or more works during the years, but there's also students who are focusing on works even over the over a longer period because it's a work that is very manifold or that has actually a lot of important implications in its further development so I would like to ask Flavia now to tell us a little bit about her work that is actually a long-term research that she already started some years ago what did you do Flavia? So I was a patient in my life throughout my life so this is a topic that is recurrent in past projects. This is a project for hospital patients in individual rooms because most art projects are made for the common rooms. And so if you cannot walk to there, it's very hard to have access to the arts. And we know that when well done, it has some very good properties into calming effects, into rehabilitation. So it's also complicated because you need to take into consideration, well, a lot of hospital procedures of nothing needs to be touched. It should be cleanable, easily usable for people that don't know how to use it, if you're untubed, etc., etc. So here what we have is the prototype, which is the one that is used if you are on here. And I'm not going to use it too much right now. But then you have the world that is both water and jungle, so it's about using the colors, the hues that are known to be calming, so those are blues and greens in general, and there are different sounds, water sounds and And there are different sounds, water sounds and different natural sounds that are calming. And so throughout the world when you're exploring. So come closer. You can put your feet on the, that's where this is for. Yes. So if you go, relax your hand. So if you go towards one side or the other you're going to be rotating from left to right and then depending on if you are front or on the back it's only going to rotate or move but it's generally quite understandable in that sense and so this is part of a longer research for my master. And I've been lucky to be able to already try it in two hospitals. And so for the next phase, which I think will be the last phase, we'll make it even smaller and take some small considerations on the cleaning and already the Cliniko is interested in having it be put into their new pass-stop zone so then that would be very very nice so I'm really looking forward to this. Bravo so what is really amazing also in your work is that you really are working on this topic since now two years or two and a half years already. And that you even accomplished that there is an interest from, let's say, a real world setting so that actually a hospital is interested. And it looks like Fabrizio doesn't want to leave anymore. It looks like Fabrizio is very happy and just like interacting there. And I think this is exactly what you mentioned. So when you are bound to a bed, when you are not able to move anymore, at least this is something what you can do. You can like a small interaction, like in a game. And in addition, it has an influence on your environment and maybe on different sounds so if i can also add i think of course the main target is the patients but what i've been mostly told is that nurses are very interested because they also see that the patients have a lot of anxiety or stress or fear and they have too much work to deal with it so having something that is movable from room to room is also helping the nurses that are in the hospital so I think it's good for the full hospital environment in general and for arts it's also known to be very good for the people that come with the patients because they are the ones that feel the most stress more than the patients strangely so but yeah so it's a bit of a thank you so much Flavia thank you so much um Fabrizio and me we will move on now to uh Till and who is actually a student that we that already introduced to us the dream atlas right and and Till is actually very productive he is doing also like all the other students here a lot but you're participating here with a second work and I'm very proud you're participating also in the theme exhibition in the bunker with a terrarium. Till, can you explain us a little bit your work? I will try. So basically it's a completely simulated and generated miniature world. In this case an office. world. In this case, an office. It's basically the same program as the terrarium and the bunker, but completely rewritten to instead of survival here, it's about productivity. And instead of God, you play as a manager and you give them tasks. Like just now I gave the task of being more productive, but they don't know what this is about and it's kind of this fictional story of an office completely replaced by robots and then they don't know what to do anymore and then they have their own little miniature version of a simulation that they do to postpone their own tasks and management forever and we can see here the observations that what they perceive, the actions that they do in response, so they're kind of all role-playing with each other, and through time they reflect on what they experience, and they develop personalities, and you can see I didn't project this properly, but here's one of them in what looks like kind of a storage. There's a little printer. There's another another one and this is the desks we can see here this is supposed to be kind of the manager's desk so they have all of the tools needed to interact with his employees for example the office chronicle where it shows where you can keep track in a nice way of the individual people, the entire transcript of what's happening and what is where, the Office Map, once again, the layouts to change where things are, and it's like a full interface for fictional management of AI people. This is also interesting because it follows up a kind of recursive topic of recursiveness that you've been developing also with your Sancti interface project I remember with this and the parallax effect as well. But this office represents this office as well. So perhaps we are also kind of in the loop also of these agencies. Maybe there is also some kind of somebody else taking care of... For sure. So I guess a lot of questions of free will as well. So I guess like a lot of like questions of free will as well and... No, like recursion is I think a super big aspect in generally taking in the sides kind of reflecting on what's around kind of and it's fun. Something moved, yeah. We can see in the story metallic wellspring and it came to pass that the first soul rose from the glow of the silver device casting a thoughtful gaze upon the clustered desk that shaped the open hall. It's very still inspired by the story of Eden also and coming from nothing and the verses. Yeah. This cat you mean? That's been my lucky charm this week. It's interesting because it's kind of like the same interface but develop it downstairs in the bunker interface but develop it downstairs in the bunker with this terrarium and now is this office which sometimes also they become kind of like cubicles or also terrariums or some kind of like capsules. I literally had to translate the landmark of the glass terrarium like the edge of the world here to just that's the wall that's your office you cannot. That's a lot of similarities I think. Very nice comparison. A very nice metaphor and a very nice comparison actually that you are presenting here. Hey, is it like a one-way mirror? Thank you. Thank you, too. Good job. So busy. And now we have the project from Gazelle. What is this thing? It's so weird. It's such a creepy Cronenberg Giger tail? So this tail is a robotic interface that uses a machine learning system, reinforcement learning system especially, and detects the human emotion based on the camera. system especially and detects the human emotion based on the camera so it treated the positive emotion as a fit as a like a positive feedback and negative emotion as a penalty and develop itself and its personality kind of based on the human interaction so after like end of the festival and we can see that it has different character and personality based on the festival and we can see that it has different character and personality based on the movements and human emotions. And this movement are they trying to mimic any kind of like animal behavior or just has its own? So the idea was the tail and because I really like this movement in the animal tails because actually tail in animal is kind of a tool for communication and expressing their emotion. And also in the revolutionary theory, we have a tail in the back and also we have a tailbone in the end of the spine. So I found these mutual you know features between tail spine human emotion and this kind of movement that can we can actually resonate with it and Ghazal you are also working at ITU also in some kind of like robotics department or what are you doing so I work as a lab assistant in human-computer interaction lab and extended reality lab. And also there I'm interested in effective computing and how we can develop a relationship with machine or computer in general. So the tail is learning and we are also learning. Exactly. Okay. And I also would like to take this opportunity to include Laurent in our tour through the exhibition. So Laurent is also professor here at the department and Laurent is also your supervisor, right? Because you're already working on your master thesis. I will not ask you now, Gasal, but I will ask Laurent because he is actually also working with you. And also maybe to reflect a little bit also on your development, also especially with the tail, what have been the challenges and what Laurent actually maybe sees also in general in your development that you actually do also with this project. Yeah, thank you, Manuela. Yes, Razal had this idea of the spine and of course to make it you have to learn how to drive the motors, how to actually connect also this learning algorithm and then the reinforcement learning so to it and I think this is also something you learn and the machine learns also. This is interesting that both things have to learn at one point. And I think you managed to make it turn into something that really is almost alive. It's interesting, no? That it's responding. It's actually, you said people were dancing when they have seen it. So it actually has a kind of entertaining effect. And yet the machine is also doing something in the background. It's just not just making something predefined, right? So it was interesting because I found that people are dancing with it and I didn't expect this kind of interaction. So I just learned that also people can, you know, find another way to communicate with it and also maybe it can find another way to communicate with humans based on their movement and emotion. It's called emergent behavior. Okay, thank you very much. Yeah, then we move on to Joan, I would say. Thank you Ghazal. And Ghazal is from Iran. And now we move to Korea. Hello Joan. Can you tell us about your work please? Hi, I'm Joan Lee. Can you tell us about your work, please? Hi, I'm Joanne Lee. I'm from South Korea and my project is called In Between. Basically, I want to make a kind of interactive installation which makes the present user and the past user's emotions combined together. So you can see the clock here and also we have a headphone so please put on the headphone first because I also work a lot with my these sounds. So start with this button. A little bit harder. Yes. Now you can see the in this stage you can see the data over there. I use the facial emotion recognition technology to capture the emotion from the face. And you can see the, also the, each emotion has own color and sound at the same time. So she can now experience a lot. Good. now experience a lot. Good. Want to continue or not? Oh yeah. So in this stage basically user's emotion is record also for the next user. And now we can go continue. And you can switch the rotate the button here is the clock. And now you can see the time 여기 클럭을 누르면, 지금 이 시간을 볼 수 있어요. 이 시간은 똑같은 곳이지만, 아까 사용자의 시간과 다르게 다르게 되어있어요. 그리고 다시 클릭하는 버튼을 누르면, 이 사람을 보면, 그곳에 서 있는 사람의 감정이 마지막으로 함께 생겨나게 됩니다. 그리고 다른 감정에 대해 조금 더 느끼실 수 있습니다. 그리고 제가 안에 정말 특별한 끝곡을 넣었습니다. 그래서 궁금한 분이 계시면 즐기시길 바랍니다. So please, someone who is interested, enjoy it. Very interesting and also very interesting way to represent emotions, something that is so personal as well and so hard to explain and so hard to represent also physically perhaps to other people sometimes our faces don't really match yes of course yeah i think this technology is not perfect to capture the person's the user's emotion exactly yeah i think the technology yeah i said it's not possible sorry about that but i feel it's not possible but i about that, but I feel it's not possible. But that's why I feel the human emotion is important than the technology. And I feel like I use this tool, but we can see this is going to be the visualized colors also at the same time, and it's going to be the art. So I feel it's going to be kind of the process how to make this data to the art scene. Which is very much a relation also to your master thesis project that I'm very much looking forward to. So how to use data and how to visualize, how to materialize, how to make it feelable again and taking it out of this kind of state of just information that actually that really talks to you. Thank you so much, Twan. So, and now we have another Erasmus student that we are very, very happy that we could welcome you from Paris 8. And today was actually having a lot of, like she immediately jumped into our courses and curriculum that we actually offered. And in addition, she further developed a collaboration between an Austrian company, G-Tech, which she actually has the hat on, which is about to actually measure brainwaves. And she is working with these brainwaves because this is all what her work is about and that you will now talk and tell us more. Hi, thank you for your introduction. I'm Zuwei and this is my project. So I will start with a demonstration first and then I will explain further. I'm wearing right now, so you can see is my brain width that from G-Tech company, they are from Unicode BCL, this is a channel with wet gel. So right now, this is how the signal is, and we can see that if I do this, that like the signal, signal is not quite well, but it's functional. So I use this, then I go into VR. I'm going to show you the So, as you can see, this is the interface and in the middle is the real live data from the BNANs. So, if you take out your phone right now and then check the website of the Binance, it is exactly the same candle charge of how the price of the Bitcoin functioned. And right now I am going to connect the G-Tech headset. Very complex setup. Brain computer interfaces are really interesting because it's this kind of medical device for very specific use. And for some reason the students now they are really really engaged on this idea of like using the brain as an interface as well or how to interface directly with the brain waves. So right now it's connected. Perfect. And then right now I'm making, I'm actually losing my profit, I'm not making any profit because the attention, my attention is not focused so you can see the the red and the cell bottom yeah i'm really bad at this explaining so the cell when i'm focused it will hold the bitcoin and when i not focus it will sell the bitcoin so I actually have no choice but to trade myself and monetize self. And also you can see the sun, it's the time of the day is also changing. Now is the night. Because every time when I lose focus, the time go faster in the VR. Yes, and when I'm focused, the time is the same as the reality. Yes, so that's my demonstration Yes, I try This is my whole float as I so basically the user with the EEG headset And then they they put it on with the VR and the poor live data into the VR So it stimulates the trading and my whole idea is about self-automization and self-monetization because for the concept of this artwork is also questioning about how value is generated in our society and also in art and thanks to like usually where art has value and I combine these two together as question about the functionality of the human and also the non-functionality of the function of art. Yes. So yeah, and yeah, I think the reason why I start this artwork is because like one morning I have so many to-do list and I question myself like if I don't feel, if I don't do all this to-do, finish all this task, I feel bad about myself. But I do I feel it's a better I feel I've become better than myself yesterday but then why couldn't I just simply exist is enough so this is where that where it all began yes so I think everything I want to say it's also here so thank you everything I want to say is also here so thank you. Thank you, Sui. I think it's a very interesting project and yeah, I mean, pretty scientific as well and yeah, it's interesting also and that's why I think it really makes sense to also have it in an exhibition so that you can also share this experience or the way you feel about the construction of this project and how this project emerged and all the kind of like concept that is behind but also how nicely you set up and how proactive you were like learning all these technologies so yeah congratulations on on this project okay welcome back and now we are in the last room of our exhibition where we have these three projects first project by lucia whose project that is here as an installation is kind of like also like some kind of like recursiveness of of a performance that you will have also at the deep space during the festival with a lot of program we will tell you later which who is also collaborating so please would you like to introduce yourself your project and explain us a little bit about it thank you Yeah so I'm Lucia and this is Hani and our project is called Smile Your Own Camera and so it consists of a world map that's been scaled according to the average number of CCTV cameras per person and the places in the countries in the countries, in the different countries. And so, yeah, they're indoor webcams streamed from the web. And, yeah, and then we've got a book where we ask people questions about surveillance and how it feels to be watched in your everyday life. And, yeah, interviewed people in different places around the world. Yeah, so there's a small audio track to go along with the video feeds, which basically senses motion in the camera feeds and generates audio from any movement that people are doing in the different places around the globe. And you also did quite a lot of research around this topic. And I think also it's very interesting this kind of maps that you actually found here can you maybe tell us a little bit more about what you were researching on and what you found out what's quite interesting actually or maybe some personal stories or some kind of experiences that you had when to go through all this kind of different kind of experiences that you had when like to go through all this kind of different kind of life video feeds of observation of maybe public or not so public places what happened? Yeah so I think the project sort of stems from also, I think just in more recent years, recognizing like growing up in a big city like London, that like when you're in the city, you can be trapped in the center, like with the CCTV cameras from like A to B. And just like the idea of like you're literally being watched at all times when you're in the city and kind of just having that realization more recently I guess um and so yeah it was just interesting that online you can have access to so many places like shops or just like yeah shopping malls like restaurants and stuff and so even when you think you're in a sort of enclosed place indoors that you're being watched as yeah it's kind of strange and it's been yet interesting to watch the feeds and the same people kind of popping up in different places and yes it's been interesting um and yeah so we then I thought also because it's like the idea of being watched in like everyday life so I just thought asked people that we know around the world in different places kind of how they feel being watched in their parts of the world and I guess it varies if you're in like a big city or in a smaller village so yeah we just were interested to get and I think this was also a nice discussion that we once had that you were saying you actually don't know exactly who is watching because you actually know that there is a camera and you know that there is a possibility that somebody's watching but actually who is really watching like is there more an algorithm behind for sure they're not all humans behind but on the other hand we know that not everything is about algorithms so I think this is actually also this which makes a big question mark because we don't know for whom all these cameras are actually there to control and observe and who is actually watching them really on us. So very nice. Thank you so much. Yeah, this is really interesting and also because they don't want to fake it. So this is real time. So I don't know how these people that is right now on the screen is feeling about being part of an artwork right now at arts electronic yeah thank you so much lucia congratulations camilla so we go now from this kind of observation algorithmic observation uh also very much in the question of how much influence we can actually also have on this algorithm and especially also on different kind of languages, software languages. So, Camilla, what are you doing? Hi, I'm Camilla and I was researching kind of also on the objectivity of algorithms and programming. And when you talk about bias, you often talk about the data itself. But also a lot of biases come from the programming itself. So like how a programming language is made decides who can program, what is programmable and how you program the thing. So then I was kind of thinking about how to create my own new esoteric programming language to kind of question this perceived objectivity that is not really there in algorithms. So I created a new esoteric programming language where you code by writing about your feelings. So kind of using the subjectivity of feelings as a way to show also the subjectivity in programming languages. So you write about how you feel and that gets translated into machine code that then creates visuals. I am a bit overdone already. But still so many festival days to go. to go. Very interesting, it's also the same as the project that we saw before with Johan, trying to reflect on how to represent emotions and how technology could mediate or interface in order communication of our emotions and like seeing these emotions translated also as these gradients of color i think it's a very interesting representation and step forward in what technology could become right The use of technology. I like very much also this transparency that you have. I mean, you also speak about this kind of esoteric programming languages and how people are actually working with this now, but, and you're not just like making also your own programming language, you also explain more or less how the code has so what is coded how so what are the relations between the code but you also make it transparent can you maybe talk a little bit about this importance for you and how it developed yeah for me a lot of things came from like my also my own experience programming because like computer science in general is often like a very like manly like masculine hard space where everything has to be difficult and the more difficult the better so when I was researching on how to create my own programming language I was also researching on how to make it like more accessible so for example with this programming language you cannot write anything that is wrong per se. It takes what it can compute, but everything you write kind of influences the output. So there's no errors in the messages, which normally you have a lot of problems always when you have a lot of errors in code, which then can scare people off to program. So it's kind of just trying to make it as easy as possible to write anything that you want and still get an output. Nice, so there won't be any 404 or a black screen. There will always be something also represented very nice and could you also tell us about your set of how you came into this materiality of the textile and of these layers and this kind of like staging this very because it's really like a scenography almost like a theater scenography yeah I kind of wanted to go away from just having a screen because it's again feels like very hard um so i was thinking about how i can have a thing where you write on that that still feels like soft and also not very objective in itself so i was playing around with fabrics but at the same time I also wanted to show how then the code itself gets translated into machine code. So you have behind the fabric on the wall, then the translated code on how the machine then interprets your emotions. So you can see through the layers of how the computer then interprets what you write. So I kind of wanted to be able to see every layer of how the visuals are then created out of what you write so I kind of wanted to like be able to see every layer of how the visuals are then created out of what you write thank you so much thank you so much um you're from Germany ah yeah it's also in the second year right and now and now we come to another student from Germany also in the second year Lily Lilly. Do we have to sit here? It's the best way, right? To explore. And I hand you over the microphone so you can talk about your work. Yeah, so I'm Lilly and my project is all about language and how language changes. So my main inspiration was actually a book that's called Word Slut. And it really explores how deeply ingrained sexism is in our language. And it really inspired me to explore a bit more about how the language we're using already has so much information ingrained in it. And then it got me thinking a little bit more about who uses language, who actually influences how we use our language and how language was always a very human to human experience. And now with an increased use of AI, which is also producing language, the borders are a bit more blurred. So it's not merely human to human anymore. And so I wrote a text about who has influenced my language and it starts from me then it goes to my sisters my mothers my my grandmothers and just like goes deeper into the world also people that I don't know they have influenced my language and so I asked people from my surroundings to record this text which which you could hear many different voices. And if you look closely at the mouth, which is my mouth, just kind of like the people speaking through me, you can see that it is already overlaid. So there's two mouths kind of moving alongside each other. And the other mouth is reading a text that the NAI actually wrote about how an LLM is using its language and who has influenced the language of an LLM. And so it's kind of to highlight these differences between humans who have influenced my language and where the LLM takes its language from and how it's going more and more into our own language that we use. So where does your contribution start and where does it merge with the AI or with the natural language system? So my main contribution is writing the text. So I wrote the text from my perspective and actually like really going through the people I know and people I don't know that have influenced my language. I also did some research on where language changes come from. And then I gave this text to an AI which then wrote kind of its own text under like my instructions so I still kind of like curated the text and like selected the the version that I like the most and then I also modeled the the mouths and yeah I kind of like asked people from my environment to to read this text for me because they are speaking through me because I am using language the way they use language. So it's really, this really is a representation of how I speak because language is not really just what I do, it's also what I'm used to and what I hear. So it's really like this kind of balance between where is language mine, where is language everyone around us? And the project, so the way that is set up right now, does it start and finish or you can speak they can speak or you can speak through through them they can speak through you um so basically i mean you start here you see like two of my booklets where also like the research is a bit presented and the texts you can actually read because otherwise it's a little bit hard to hear and then you're invited to kind of sit down and like really listen because the speakers are like directed more towards the pillow. So you can sit down, try to listen to the voices and as soon as you press one of these buttons here, one of the voices actually changes from reading my text to reading the AI text. So the enter buttons are kind of like recreating this prompting to an AI. And the more you press the button, the more you will see that the mouths kind of like change. So it will be not the mouth moving alongside the human text anymore, but the mouth moving alongside the AI text. So it's kind of like the AI kind of like taking over my speech in a way yeah so there are moments where you can listen and there are other moments where you intentionally create also this kind of cacophony so to say whether you have like too many voices talking at the same time. Yes, it does get a bit overwhelming after a while because you hear 10 voices at all times and they're not always reading the same text. So it's really a lot of information, which is why to me it was really important to have like this kind of booklet where you can actually read the text to try and understand because the text is the main thing of the installation. So like understanding the text and understanding how different the influences are between who has influenced my language and who has influenced the language of the AI. I mean all these projects, also these three projects and your project have been developed through the whole year and even maybe even longer together with Manuela in her course Critical Data so there is also like you are working on some posters that you have represented there that add also like part of the experience of the research process that came out in the end like in this moment of the installation but they will they are also continuing like outside of the installation yeah this is um something that um i think for the interface cultures department, also what you are doing with your lectures, is very important that students are on the one hand searching a topic on their own, so we are not forcing them into a topic. They search a topic on their own, they research on this topic, they go into this research and then they present it and we are searching for possibilities to exhibit and with critical data research lab so with the critical data course we also have the possibility to go to other places because we collaborate with other universities but also with your lab actually we have the chance to be invited also in other exhibitions And just to conclude now, because there's also a lot in front of us, so we are now in September 25, but there are other things coming up which we just want to quickly document. Yes, so additionally to the exhibition we have also projects represented in the Hauptplatz, in the main Kunsthunding Campus, like the project from Sofia, and also a lot of projects that are also represented as performances in the deep space. So this bigger project that was curated by an alumni from Interface Cultures, Kevin Blackstone, who is becoming kind of like the director or the director of this group of students, which is a collaboration between Interface Cultures, the Kunstuniversitat, the Bruckner Universitat and the Deep Space and Ars Electronica deep space. More as we have Andrea Corradi also is doing an amazing performance later on Saturday at 12. It's at the foyer of the Lentos Kunstmuseum where they are going to collaborate with this very interesting siren that you can hear every Saturday at noon in the Hauptplatz and all the visitors and our students you know they of course like slowly develop a relationship with this recursive sound that we have always in the background on Saturday at noon here in Linz and perhaps also in other Austrian cities, but it's something that is a really interesting experience for us as people that move into Linz or we are visiting Linz and then we also have on Friday a whole research day as well that starts with an event called Leonardo laser talks which is events that we are having every year taking into local and international guests coming from the arts the science technology design architecture and we have discussions and presentations on local and international guests coming from the arts, the science, technology, design, architecture and we have discussions and presentations on specific topics, this time on laboratories and also specifically perhaps talking about mycelium and mycelium technologies both in the arts and in the science and then it continues with the whole critical data afternoon. Yeah, exactly. We have a lot of PhD students, nine PhD students that are actually also presenting there on Friday afternoon. And we have an exhibition at the Energie AG Tower with Martina Pizzigoni. We have so many things to show, actually, that we even forget, right? It's the same with me. So Energie AG, where Martina Pizzigoni many things to to show actually that we even forget right it's the same with me so energy ag where martina pizzicone and alessia falica as malex are presenting a wonderful project on the topic of how to die in the digital time in the digital in a digital stage and it's a wonderful work that is actually presented there on saturday we meet there also for a curatorial walk and we will have a discussion with the artists but this is only for ars electronica actually fabrizio just to quickly mention in october we have an exhibition with some exhibitions actually starting yes so actually some students that they participated in the same exhibition that we had in June first year students they are going to Slovenia to Speculum Artium and they're going to present their projects there so this is Carolina and Patrick and then later on in October we're going to Valencia as well to participate together with the university with the fine arts academy in valencia to this festival volumens it's a music festival and they also have like some art media art exhibition and then later on directly we fly directly from valencia to to sofia? And because we have a collaboration partner, which is also now in this place, Gallery, very featured, our special featured partner, the Academy, National Academy of Sofia, so Art Academy, and this is Venedin Shurilov with his classes on media arts and digital arts, that we have this kind of exchange. And we are invited to go there and we also have an exhibition there and we go there also on an excursion. So this is a sneak preview into all the works that already took place that will going to take place and I think yeah 25 was a good year right? Yeah of work, but we are very happy because that's what we want to do, no? And whoever is seeing this documentation for two hours, thank you for joining us for such a long time. Yes, thank you. Goodbye.