WEBVTT

0
00:00:00.000 --> 00:00:02.000
 Interface Culture Exhibition at Ars Electronica

1
00:00:02.000 --> 00:00:04.000
 The Interface Culture Exhibition

2
00:00:04.000 --> 00:00:06.000
 The Interface Culture Exhibition

3
00:00:06.000 --> 00:00:08.000
 The Interface Culture Exhibition

4
00:00:08.000 --> 00:00:10.000
 The Interface Culture Exhibition

5
00:00:10.000 --> 00:00:14.000
 Welcome to the Interface Culture Exhibition at Ars Electronica 2026.

6
00:00:14.000 --> 00:00:18.000
 My name is Laurent Mignonneau. I'm the head of this department.

7
00:00:18.000 --> 00:00:20.000
 And we have here also Fabrizio.

8
00:00:20.000 --> 00:00:26.000
 Hello, my name is Fabrizio Lamoncha. I'm also working in this department as a senior artist.

9
00:00:26.000 --> 00:00:33.000
 And we are all together with the students producing this exhibition at the Ars Electronica Festival.

10
00:00:33.000 --> 00:00:40.000
 So we have here the title of the exhibition is called Colds and Rituals.

11
00:00:40.000 --> 00:00:46.020
 It's not antinomic. A lot of coding is done through rituals as well. And the rituals

12
00:00:46.020 --> 00:00:52.899
 is also part of what coding is about. So it's an interesting contrast, but at the same time,

13
00:00:53.020 --> 00:00:59.380
 kind of word association. And we have here the booklet and we have here 11 works that

14
00:00:59.380 --> 00:01:04.920
 are described in the booklet. We have also a book this year that came out, it's Interface Culture,

15
00:01:05.079 --> 00:01:11.519
 described in the booklet. We have also a book this year that came out, it's Interface Culture, the 20 years celebration. So it describes a lot of what has happened over the time and

16
00:01:11.519 --> 00:01:15.819
 who participated to the study program over the years.

17
00:01:15.819 --> 00:01:21.000
 This is my project, sovereignty meters. It comes as a continuation to my practices to

18
00:01:21.000 --> 00:01:27.980
 make the invisible power more visible. surveillance meter what it does it scans any

19
00:01:27.980 --> 00:01:31.599
 domain and it gives you the location of the server and

20
00:01:31.599 --> 00:01:35.859
 the distance from Lens to that

21
00:01:35.859 --> 00:01:39.939
 country where the server is located and it gives you

22
00:01:39.939 --> 00:01:44.060
 a score based on the ownership, who owns the infrastructure

23
00:01:44.060 --> 00:01:46.480
 of the internet, who owns the

24
00:01:46.480 --> 00:01:53.519
 internet cable, who owns the server and it names everything. 10 years ago the internet was owned

25
00:01:54.079 --> 00:01:59.200
 the internet infrastructure was owned by telecommunication companies

26
00:01:59.840 --> 00:02:07.400
 and but now it owned by big tech like Google, Meta, Amazon, besides telecommunication companies.

27
00:02:08.159 --> 00:02:12.840
 But now with the rise of AI companies like OpenAI, Panentere, Anthropic,

28
00:02:13.199 --> 00:02:16.280
 we don't know 10 years from now who will own the internet.

29
00:02:16.780 --> 00:02:19.599
 And this is what I'm trying to archive in this project.

30
00:02:20.060 --> 00:02:25.560
 So over time, we'll see the change of the internet infrastructure ownership.

31
00:02:26.000 --> 00:02:27.379
 And I want to archive this.

32
00:02:27.819 --> 00:02:29.159
 Hello, my name is Volkan Dinsher.

33
00:02:29.240 --> 00:02:32.659
 Listening to Cats Fight is my work.

34
00:02:32.659 --> 00:02:39.000
 And it's a stone disc, which we are listening with a turntable.

35
00:02:39.340 --> 00:02:43.280
 And it's like there's a track on it, around 15 minutes.

36
00:02:43.379 --> 00:02:45.439
 And you just put a needle like a vinyl.

37
00:02:45.780 --> 00:02:49.680
 And there are other records also from different stones.

38
00:02:49.819 --> 00:02:55.539
 Granite, limestone, different limestone, marble at the back with different fragrances they have.

39
00:02:55.780 --> 00:02:58.400
 Yeah, this is work about listening to stone.

40
00:02:58.500 --> 00:03:03.639
 These are first with hand chisel and hammer broken down.

41
00:03:04.080 --> 00:03:06.159
 H are curved and polished.

42
00:03:06.159 --> 00:03:11.580
 You put the polished stone for recording the track.

43
00:03:11.580 --> 00:03:16.419
 And then, yeah, there's a diamond needle

44
00:03:16.419 --> 00:03:22.120
 and you make the scratch all the way through inside.

45
00:03:22.120 --> 00:03:27.400
 And then put it into turntable and listen it.

46
00:03:27.400 --> 00:03:28.800
 My name is Patrick Ortiz.

47
00:03:28.800 --> 00:03:33.939
 I'm a Bolivian artist and software engineer.

48
00:03:33.939 --> 00:03:37.240
 This is my artwork called Mio.

49
00:03:37.240 --> 00:03:48.000
 This is a livestream reimagined as a video game and on it the performers, Maque Pereira, Alireza Corrabadi and me

50
00:03:48.000 --> 00:03:52.000
 activate this universe

51
00:03:52.000 --> 00:03:56.000
 by providing the participants the possibility to

52
00:03:56.000 --> 00:04:00.000
 interact and define the path of our movement

53
00:04:00.000 --> 00:04:04.000
 or our displacement. So during the performance, participants

54
00:04:04.000 --> 00:04:06.419
 do a payment of one

55
00:04:06.419 --> 00:04:16.019
 euro and then they select a direction where then we will take in real life in Lens. So we will be

56
00:04:16.019 --> 00:04:22.259
 walking and live streaming through Lens and then taking the directions from through a phone and

57
00:04:22.259 --> 00:04:25.399
 then walking in the directions that the participants will

58
00:04:33.040 --> 00:04:33.560
 will then decide. Really important to mention that all the participants or the performers are also in real life migrants in Europe and they

59
00:04:35.379 --> 00:04:37.379
 will came to Europe for different

60
00:04:37.939 --> 00:04:44.800
 from different purposes and from different motifs. The architecture or the aesthetics of it is basically how I

61
00:04:46.360 --> 00:04:55.959
 imagine how artists or the art industry in Europe is, it plans or it imagines how we Latin American

62
00:04:55.959 --> 00:05:01.100
 artists should look like, should behave. I'm Patricia Soton. I work in the field of

63
00:05:01.100 --> 00:05:05.699
 intermedia and art and science, mainly lately within the field of physics.

64
00:05:06.279 --> 00:05:09.579
 And the piece is based on an interdisciplinary dialogue

65
00:05:09.579 --> 00:05:13.000
 with a researcher at CERN that has been going on for the past months,

66
00:05:13.560 --> 00:05:17.180
 in which we've approached physics of the Standard Model and Higgs.

67
00:05:18.079 --> 00:05:23.579
 Particularly, the piece approaches the way events are being reconstructed in CERN.

68
00:05:24.579 --> 00:05:27.519
 And by events, I mean accelerating and colliding

69
00:05:27.519 --> 00:05:34.180
 particles which is something they never get to see but like rather they reconstruct through

70
00:05:34.180 --> 00:05:38.459
 the traces these collisions live in the detector so like the piece also approaches

71
00:05:38.459 --> 00:05:49.579
 all these topics throughout fragments and also these like questions of why do we collide and the answer has to do with

72
00:05:49.579 --> 00:05:56.360
 the with the fact that that way we can access early stages of the universe so like to understand

73
00:05:56.360 --> 00:06:05.240
 time in a very like cosmological particle tiny way also mediated through us human perception and technology latency.

74
00:06:05.720 --> 00:06:09.259
 The piece is also interactive, so you can enter the system.

75
00:06:09.259 --> 00:06:17.259
 And it talks about also the fact that in this cosmological and particle approach,

76
00:06:18.060 --> 00:06:20.420
 we are all, in a sense, made of the self.

77
00:06:20.560 --> 00:06:23.860
 So we are kind of like universe exploring itself,

78
00:06:24.279 --> 00:06:26.180
 because it's

79
00:06:26.180 --> 00:06:33.800
 all made of like the same thing and our next artist is actually a collective of

80
00:06:33.800 --> 00:06:47.000
 two artists Simon and Nico who have been working very intensively with mold thisこの先の学期で作ったモールドを作っています

81
00:06:49.000 --> 00:06:50.000
このプロジェクトの名前はInaffection

82
00:06:50.000 --> 00:06:53.000
In-fectionとはAffectionと言います

83
00:06:53.000 --> 00:06:57.000
私の作業はモールドを作ることです

84
00:06:57.000 --> 00:07:00.000
パートナーは音を作っています

85
00:07:00.000 --> 00:07:04.000
このプロジェクトはモールドから音を作っています

86
00:07:04.000 --> 00:07:07.439
モールドは自分分の音を作っています。

87
00:07:07.439 --> 00:07:09.519
この音は、

88
00:07:12.319 --> 00:07:14.959
モールドは日々変化しています。

89
00:07:14.959 --> 00:07:18.240
音も日々変化しています。

90
00:07:18.240 --> 00:07:26.000
私たちのコンセプトは、人間の反応と、どこが境界線なのかを考えることです。

91
00:07:26.000 --> 00:07:30.000
悪くて美しい感じ、

92
00:07:30.000 --> 00:07:34.000
おー、こんな感じな感じ、

93
00:07:34.000 --> 00:07:36.000
それを考えることです。

94
00:07:36.000 --> 00:07:40.000
モールドについて、ビジュアルについて、音を聴いてみてください。

95
00:07:40.000 --> 00:07:42.000
何が起こっているか考えることです。

96
00:07:42.000 --> 00:07:44.000
これを考えることです。

97
00:07:44.000 --> 00:07:45.680
そして、私たちの場所を考えることです。 What they saying? We think about this and think about where we are.

98
00:07:45.680 --> 00:07:48.240
 We got new perspective like a mold.

99
00:07:52.560 --> 00:07:59.199
 Hello, I'm Hassan Waqaf. I come from Syria and I'm a visual artist and creative technologist.

100
00:07:59.199 --> 00:08:05.920
 Today I'm showcasing Fogos, which is an interactive installation, it's an audio-visual installation

101
00:08:05.920 --> 00:08:14.120
 that mimics an inner dialogue that would repurpose the way we would interact with AI

102
00:08:14.120 --> 00:08:27.399
 in contrast to gaining certainty. It would push us to embody and embrace uncertainty and question what we believe in through a conversation that spans five questions

103
00:08:27.399 --> 00:08:34.019
 that inspire and invite the visitor to reflect upon what they believe in

104
00:08:34.019 --> 00:08:37.960
 and take the time to sit with their own thoughts.

105
00:08:38.340 --> 00:08:44.539
 So it's basically a mirror display with the interactions purely audio.

106
00:08:44.860 --> 00:08:47.759
 And so it's a conversation through the headset.

107
00:08:50.120 --> 00:08:54.240
 The visuals and colors would change based on the individual.

108
00:08:54.240 --> 00:08:57.679
 I'm negotiating the new interaction that we're having

109
00:08:57.679 --> 00:08:59.679
 with AI in this installation.

110
00:08:59.679 --> 00:09:01.700
 It's generally a personal interaction

111
00:09:01.700 --> 00:09:04.259
 and it is visualistic interaction.

112
00:09:04.259 --> 00:09:07.000
 So it's kind of private to each person,

113
00:09:07.000 --> 00:09:11.000
 has a unique experience within this installation.

114
00:09:17.000 --> 00:09:21.000
 This is my project called Cycle of Emotions Composition.

115
00:09:21.000 --> 00:09:24.000
 This is the last series of Cycle of Emotions.

116
00:09:24.000 --> 00:09:26.139
 I basically already did

117
00:09:26.139 --> 00:09:31.600
 the previous exhibition in South Korea so I want to kind of making the

118
00:09:31.600 --> 00:09:38.759
 composition or artwork in this project. So you can try with this tablet here and

119
00:09:38.759 --> 00:09:49.379
 you can select up to three emotions. I picked the like a satin green and maybe you can customize but

120
00:09:49.379 --> 00:09:57.259
 I pick like just randomly here but I prefer you think a little bit more about the colors

121
00:09:57.259 --> 00:10:05.860
 and the emotion at the same time. So no I feel like red today.

122
00:10:05.860 --> 00:10:08.019
 And now you can see the screen here.

123
00:10:08.019 --> 00:10:12.759
 The webcam is capture your facial expression recognition.

124
00:10:12.759 --> 00:10:20.440
 I'm using the technology and in real time, it change all your emotions at the same time.

125
00:10:20.440 --> 00:10:26.299
 And I didn't choose the other emotions like neutral or disgust or something like that.

126
00:10:26.379 --> 00:10:29.960
 So I borrowed the colors from the previous user's one.

127
00:10:29.960 --> 00:10:38.539
 So you can see here, the frame over there is basically your emotion, but you didn't choose it.

128
00:10:38.759 --> 00:10:42.120
 And then the colors from the previous user here.

129
00:10:42.820 --> 00:10:46.919
 And the background, the layer is from the South Korea.

130
00:10:46.919 --> 00:10:51.919
 The more than 1,400 visitors already put this artwork

131
00:10:52.759 --> 00:10:56.500
 and then I want to, I did like a,

132
00:10:56.500 --> 00:10:59.899
 what kind of colors and emotion put together

133
00:10:59.899 --> 00:11:05.000
 and selected the representative colors on the background.

134
00:11:22.519 --> 00:11:31.919
 My name is Carmen and this is my project Withdraw. Withdraw is a speculative lenses where I make use of a materiality to spot and remove a

135
00:11:31.919 --> 00:11:33.720
 brand of my site.

136
00:11:33.720 --> 00:11:39.960
 This project born because of personal reason in my country Colombia and there was this

137
00:11:39.960 --> 00:11:47.179
 case where Coca-Cola was confronting serious like legal problems because they

138
00:11:47.179 --> 00:11:51.879
 were making use of the water while a community could not could not have

139
00:11:51.879 --> 00:11:57.519
 access to it so in the same place where they were producing there was people

140
00:11:57.519 --> 00:12:02.480
 that could not drink it so I was really outrageous by the situation and this is

141
00:12:02.480 --> 00:12:09.019
 my approach as an artist of how I would like to remove this brand of my life.

142
00:12:09.019 --> 00:12:16.200
 And it's really speculative because I understand that normal people don't go out to the world using these glasses.

143
00:12:16.519 --> 00:12:23.299
 But I would like to check, like, how would it be if we would have easier glasses?

144
00:12:24.159 --> 00:12:28.620
 And if we could use this kind of tech in our

145
00:12:28.620 --> 00:12:34.120
 advantage as a consumer and press the companies to improve and to follow the

146
00:12:34.120 --> 00:12:36.340
 rules

147
00:12:37.679 --> 00:12:45.539
 hello I'm link and I'm the artist that work more about with textile and audios.

148
00:12:45.539 --> 00:12:52.179
 So this time I presented this artwork is based on the different materials with metal, plastic,

149
00:12:52.179 --> 00:12:58.559
 and then with the plastic yarns and also the conductive threads.

150
00:12:58.559 --> 00:13:00.340
 This is by the silver.

151
00:13:00.340 --> 00:13:13.500
 So this is the work and the material that I'm normally working on. And this main topic is about the submarine cable, which is 95% transforming the data.

152
00:13:13.500 --> 00:13:19.600
 And the idea of this artwork was because of the incident last year,

153
00:13:19.600 --> 00:13:23.659
 that from Taiwan and China,

154
00:13:23.659 --> 00:13:28.000
 there's a ship accidentally cut off our sea cable, the

155
00:13:28.000 --> 00:13:33.500
 underwater cable, and it caused 50 days damage that one of the island cannot

156
00:13:33.500 --> 00:13:39.820
 assess to the outside. And because of this, like last month in August, in our

157
00:13:39.820 --> 00:13:46.620
 military rehearsal, the national wise, we also add this practice in the military

158
00:13:46.620 --> 00:13:51.519
 practice so for the people to understand that the network is actually really

159
00:13:51.519 --> 00:13:57.120
 important and how the people should react without any internet so and then

160
00:13:57.120 --> 00:14:05.919
 for the artwork itself is this is the matrix river So it's trying to mimic the data is transforming

161
00:14:05.919 --> 00:14:10.919
 through the cables and this also encrypts data.

162
00:14:11.419 --> 00:14:15.879
 And I invited the audience to come to touch the fabrics

163
00:14:15.879 --> 00:14:17.220
 or the installation.

164
00:14:17.220 --> 00:14:21.620
 So for example, that I touch it, if I touch long enough,

165
00:14:21.620 --> 00:14:24.460
 then I can have the messages decoded.

166
00:14:25.899 --> 00:14:28.299
 And for example, like this.

167
00:14:30.100 --> 00:14:38.600
 So you can get the three languages, different message, the information from this matrix river.

168
00:14:39.000 --> 00:14:43.299
 And for there that also with the audio is the underwater sound.

169
00:14:43.500 --> 00:14:46.879
 And if you find the right key that the underwater

170
00:14:46.879 --> 00:14:52.480
 sound will disappear which means you decoded the environment sound and then you can hear the real

171
00:14:52.480 --> 00:15:01.679
 time environment the people are talking and is so yeah so this is the artwork and and over there

172
00:15:01.679 --> 00:15:09.000
 that i have the uh the real-time submarine cable map that the people can come to see in Taiwan.

173
00:15:09.000 --> 00:15:16.000
 The situation now currently we have four cables is disconnected and need to be repaired.

174
00:15:17.000 --> 00:15:29.399
 This is our exhibition at the Audimax of the Kunstuniversitat Linz in the Domgasse 1. Now we are moving into the Hauptplatz where Manuela Navó is curating her critical data research group

175
00:15:29.399 --> 00:15:34.399
 in collaboration with ATTACK, an activist community from Vienna.

176
00:15:34.399 --> 00:15:41.080
 And together they are curating and supporting the student projects that are going to be,

177
00:15:41.080 --> 00:15:43.799
 that are right now presented at the Hauptplatz.

178
00:15:44.000 --> 00:15:45.000
 that are already presented at the Hauplatz.

179
00:15:50.000 --> 00:15:54.000
 We have here five works from the student in the first culture curated by Manuela Navo and it's displayed here at the main square of Linz.

180
00:15:54.000 --> 00:15:59.000
 And we have containers where we have several works displayed inside.

181
00:16:02.000 --> 00:16:08.559
 I am the artist of At Least I'm Making Money, which is talking about how the financial system

182
00:16:08.559 --> 00:16:10.039
 is profiting from war.

183
00:16:10.039 --> 00:16:15.399
 This artwork was also happening in collaboration with Carmen Cordoba-Martinez.

184
00:16:15.399 --> 00:16:21.559
 She was doing the level design and the Unity prototype and the 3D models are from Joshua

185
00:16:21.559 --> 00:16:26.059
 Madsen and the textures as well and Leandro Bischoff was

186
00:16:26.059 --> 00:16:30.879
 helping me with the economic framework and Atak was also helping me with the

187
00:16:30.879 --> 00:16:35.840
 credibility of sources. Here in this container are two artworks. Here in the

188
00:16:35.840 --> 00:16:48.879
 beginning is at least the making money and I started with the research from three different research institutes which is the CIPRI

189
00:16:48.879 --> 00:16:53.500
 which is publishing the military like the top hundred arms producing and

190
00:16:53.500 --> 00:17:01.419
 military industries companies of the world and they are here with the red one

191
00:17:01.419 --> 00:17:10.960
 and then it's like from there I got the military revenue of these companies. I then looked into which of those companies are part of the MSC

192
00:17:10.960 --> 00:17:17.240
 World ETF and S&P 500. Those are stock indices and are very important lists for

193
00:17:17.240 --> 00:17:23.220
 investors but investments are running through those lists not just not just

194
00:17:23.220 --> 00:17:26.079
 like through direct investments but sometimes also through bank or

195
00:17:26.079 --> 00:17:32.160
 through private pensions i also wanted to know how much influence those companies are having on

196
00:17:32.160 --> 00:17:38.160
 policies and regulations so i was also looking into the lobby costs from eu why especially lobby

197
00:17:38.160 --> 00:17:45.039
 costs from eu because the eu has a transparency register where they have to self-report those numbers to have

198
00:17:45.039 --> 00:17:50.539
 certain benefits from and in like access to EU institutions.

199
00:17:50.539 --> 00:17:56.940
 And then last, I also looked into the database of Who Profits, the research institute is

200
00:17:56.940 --> 00:18:01.079
 Who Profits, which is talking about the occupation economy from Israel.

201
00:18:01.079 --> 00:18:10.000
 They are corporates who are profiting from the occupation of Palestinian and Syrian land and who profits is doing this research.

202
00:18:10.000 --> 00:18:14.000
 So what you see here is a portfolio.

203
00:18:14.000 --> 00:18:26.799
 When you look at the map, you can see the companies who are part of which list so for example when i now like say i want to see like

204
00:18:26.799 --> 00:18:33.359
 the ones which are involved and then it goes to the three different colors says like which company

205
00:18:33.359 --> 00:18:40.799
 is part of which list here this company lernado is part of all three lists of the lobby cost eu of

206
00:18:40.799 --> 00:18:46.940
 the military revenue from like the top 100 arms producing and then the occupation

207
00:18:46.940 --> 00:18:55.579
 economy as well. You see a lot of data here and also on the left side which is all the companies

208
00:18:55.579 --> 00:19:09.599
 who are right now included. If you turn around and want to see more data then on each phone there is the data of a different company right now which is seen

209
00:19:09.599 --> 00:19:14.720
 on the portfolio in the middle there are my thoughts printed during the research process

210
00:19:15.359 --> 00:19:23.279
 it was the starting from january until like every hour there is like one thought printed

211
00:19:23.279 --> 00:19:24.299
 until like every hour there is like one thought printed.

212
00:19:29.819 --> 00:19:30.759
 Sometimes it's personal, sometimes it's really much about the topic itself.

213
00:19:35.180 --> 00:19:36.019
 And some questions, for example, is like, is this art?

214
00:19:42.220 --> 00:19:42.940
 My name is Gustiela Pistarol and I have here my artwork that is called Spectral Roots.

215
00:19:46.000 --> 00:19:48.059
 And this artwork was inspired by this tree called Palakian Guta,

216
00:19:48.059 --> 00:19:53.059
 that in the 90th century was used by the British Empire,

217
00:19:53.380 --> 00:19:55.779
 that by the time they had several colonies,

218
00:19:57.559 --> 00:19:59.019
 to build their telegraph,

219
00:19:59.019 --> 00:20:01.259
 first underwater telegraph cables.

220
00:20:01.259 --> 00:20:03.059
 So from this tree,

221
00:20:03.059 --> 00:20:06.440
 they can extract a material called gutta persia, that

222
00:20:06.440 --> 00:20:12.059
 is like a rubber material, and they use it then for insulate these cables, these underwater

223
00:20:12.059 --> 00:20:20.200
 cables. But by doing that they almost kill this piece of the tree. So when I got to know

224
00:20:20.200 --> 00:20:26.400
 about this history, I also thought that actually now 150 years later we are still

225
00:20:26.400 --> 00:20:33.680
 operating under the same colonialist and extractivistic logic and for that i start

226
00:20:33.680 --> 00:20:40.319
 developing this artwork an attempt to make this abstraction of like for example when you think

227
00:20:40.319 --> 00:20:47.599
 about internet when we think about the cloud or when you think about wi- when we think about the cloud, or when you think about Wi-Fi, or even our phones,

228
00:20:47.599 --> 00:20:52.099
 we not always connect that to nature.

229
00:20:52.099 --> 00:20:53.859
 We cannot see these infrastructures.

230
00:20:53.859 --> 00:20:55.500
 They are too big sometimes.

231
00:20:55.500 --> 00:20:58.619
 Or they are invisible, or they seem to be invisible.

232
00:20:58.619 --> 00:21:01.240
 So my idea is to try to give body

233
00:21:01.240 --> 00:21:03.220
 to this invisible infrastructure.

234
00:21:03.220 --> 00:21:05.240
 So I'm tracking cell

235
00:21:05.240 --> 00:21:13.980
 phones like devices and these devices the number of the devices and also how

236
00:21:13.980 --> 00:21:23.880
 strong the signal is is affecting the projection so projected here we can see

237
00:21:23.880 --> 00:21:28.359
 a tree that I'm calling a ghost tree that's turning itself,

238
00:21:28.359 --> 00:21:33.240
 morphing itself into cables and also into rare minerals that are the ones that we found

239
00:21:33.240 --> 00:21:34.640
 in our funds.

240
00:21:34.640 --> 00:21:43.839
 For the signal string, when people turn in and off their Wi-Fi, it affects, it disturbs

241
00:21:43.839 --> 00:21:48.000
 this creature, this tree that is morphing itself in other shapes.

242
00:21:48.000 --> 00:21:56.000
 For example, if we have more people inside, the pace of the piece will be accelerated

243
00:21:56.000 --> 00:22:00.000
 and also these transitions will be affected.

244
00:22:00.000 --> 00:22:09.039
 I'm inviting also people to think with me if the signals that are around us, that are emitted by our phones, our devices all the time,

245
00:22:09.039 --> 00:22:11.759
 if they had a body, what would they look like?

246
00:22:16.400 --> 00:22:21.680
 My name is Vlada and I'm a part of M22 artistic group.

247
00:22:22.720 --> 00:22:27.200
 There are two of us and at Ars Electronica we are presenting

248
00:22:27.200 --> 00:22:35.900
 our project called into the air you can see on the rooftop the antennas so it's

249
00:22:35.900 --> 00:22:50.619
 our project and here we research how ecology and politics are actually connected and how war influences the ecology

250
00:22:50.619 --> 00:22:53.940
 and particularly birds.

251
00:22:53.940 --> 00:23:08.640
 So the anthropogenic noise made by weapons and bomb explosions is a really disturbing factor for wild nature. And bomb explosions produce

252
00:23:08.640 --> 00:23:11.599
 seismic waves and infrasound

253
00:23:11.599 --> 00:23:16.039
 on special frequencies that humans cannot hear

254
00:23:16.039 --> 00:23:18.039
 but the birds can perceive it

255
00:23:18.039 --> 00:23:21.559
 and it highly influences their behaviour,

256
00:23:21.559 --> 00:23:23.559
 their migration routes

257
00:23:23.559 --> 00:23:27.000
 and even can cause PTSD symptoms.

258
00:23:27.000 --> 00:23:35.000
 At the same time, these sounds produced by bombs can be the evidence of ongoing war

259
00:23:35.000 --> 00:23:45.240
 and they can help the researchers to detect the exact locations where the bomb explosions are happening.

260
00:23:45.240 --> 00:23:50.160
 So in our work, we are combining these two factors

261
00:23:50.160 --> 00:23:55.160
 and we transmit the data from bomb explosions

262
00:23:56.519 --> 00:24:00.640
 happened in the beginning of Russian-Ukrainian war

263
00:24:00.640 --> 00:24:07.000
 and transmit them into hearable and visible vibrations,

264
00:24:07.000 --> 00:24:13.000
 which you can feel when you look up at the antennas.

265
00:24:13.000 --> 00:24:16.000
 So the antennas actually are vibrating,

266
00:24:16.000 --> 00:24:25.000
 and these vibrations depend on the database of the explosions.

267
00:24:25.000 --> 00:24:30.000
 This is our research poster.

268
00:24:30.000 --> 00:24:36.000
 The poster demonstrates how the industry of drones

269
00:24:36.000 --> 00:24:41.000
 developed through two separate tracks.

270
00:24:41.000 --> 00:24:51.200
 Like civil technology, you know know the drones are used in filming and in different civil like

271
00:24:51.200 --> 00:24:59.599
 spheres but also it's a military technology which is now used like everywhere in modern wars

272
00:25:00.319 --> 00:25:11.059
 information how to make a drone is highly available in Instagram for example in Instagram reels and tik toks so it's kind of dangerous phenomena how

273
00:25:11.059 --> 00:25:18.440
 the ordinary people civilians can make drone themselves so this is our scope of

274
00:25:18.440 --> 00:25:25.259
 interest we are continuing our investigation my My name is Somil Bhandari.

275
00:25:26.299 --> 00:25:27.539
 I'm from India.

276
00:25:32.519 --> 00:25:36.720
 And so I'm like, my background is with engineering and then design and non-studying media art at Interface Cultures in Kunshuni.

277
00:25:37.240 --> 00:25:43.579
 About my work, I have these electromagnetic coils which are wounded,

278
00:25:44.079 --> 00:25:49.000
 two of the coils, and they make the pixels fall.

279
00:25:49.000 --> 00:25:53.000
 And it's a work about repair and maintenance.

280
00:25:53.000 --> 00:26:11.119
 So I have the data from research organizations like ACLIT and UCDP. And they have like in a day on 10th of September today, 2023, there are like 600 events that they documented all over the world.

281
00:26:11.119 --> 00:26:15.259
 And my pixels react to those whenever there is an event.

282
00:26:15.799 --> 00:26:17.440
 It pulses and it falls.

283
00:26:18.220 --> 00:26:19.640
 And I make a shape here.

284
00:26:20.420 --> 00:26:26.799
 And if it falls, then it's up to people to repair the shape back or it stays fallen.

285
00:26:26.799 --> 00:26:33.599
 Some conflicts which are about political violence,

286
00:26:33.599 --> 00:26:37.200
 there are some data about protests happening,

287
00:26:37.200 --> 00:26:48.880
 and there's some data about battles. So the slight movements are about the protest happening in different

288
00:26:48.880 --> 00:26:58.000
 places in the world and the fall is when there is actually a battle or explosion happening.

289
00:26:58.000 --> 00:27:05.279
 Yeah it's also an irony that in our case it should stay intact for my installation if it stays intact then

290
00:27:05.279 --> 00:27:10.119
 there is less things like a conflict happening

291
00:27:11.319 --> 00:27:14.000
 gods

292
00:27:15.400 --> 00:27:18.000
 love

293
00:27:23.319 --> 00:27:27.880
 known Null.

294
00:27:28.480 --> 00:27:31.819
 Bones.

295
00:27:32.319 --> 00:27:34.960
 Head.

296
00:27:36.559 --> 00:27:36.660
 The interface works this way.

297
00:27:39.720 --> 00:27:40.220
 You place your hand on one side of the pedestal.

298
00:27:43.819 --> 00:27:44.640
 You hold the hand of your partner or whoever is there.

299
00:27:46.319 --> 00:27:47.440
 And then close the circuit here.

300
00:27:51.839 --> 00:27:53.839
 So it triggers the video. The video is showing Alireza who is the student here.

301
00:28:00.799 --> 00:28:05.039
 Alireza is the person on the left side. He's telling the alphabet and then there's an Israeli person next to him that also says the same alphabet.

302
00:28:05.039 --> 00:28:09.200
 So he's trying to find out what the sounds are different and what is common to both.

303
00:28:09.200 --> 00:28:17.599
 Here you see the Farsi alphabet that he's saying and then the Hebrew alphabet matching or not matching.

304
00:28:17.599 --> 00:28:25.640
 He was talking about that he wanted to talk through languages to like see them in communication but also

305
00:28:25.640 --> 00:28:32.059
 like saying how much power language holds and communication holds in either

306
00:28:32.059 --> 00:28:35.859
 like trying to collaborate or not

307
00:28:52.759 --> 00:28:54.759
 We move into the courtyard of the Hauptplatz 6, where there is the project from Christine, a huge warm installation.

308
00:28:54.759 --> 00:28:55.759
 You will see.

309
00:28:55.759 --> 00:29:02.059
 You can see here the collective instrument of maintenance inspired by warm ecologies.

310
00:29:02.059 --> 00:29:07.000
 The idea was to research about earthworms and their impact on ecological systems.

311
00:29:07.000 --> 00:29:16.000
 So I tried to put them from the underground and lift them up outside and make it visible and shine inside the tree.

312
00:29:16.000 --> 00:29:27.500
 Additionally, I tried to collaborate with the Sound Campus, that it's also a stage where people can gather around. When I was researching about the earthworms,

313
00:29:27.559 --> 00:29:30.619
 I was thinking, okay, this impact they have

314
00:29:30.619 --> 00:29:34.019
 is actually similar to the impact in the society

315
00:29:34.019 --> 00:29:38.000
 where we have this invisible labor or care work or unpaid work

316
00:29:38.000 --> 00:29:42.039
 that is also unseen but has also a really big impact.

317
00:29:43.779 --> 00:29:47.000
 The work is an interactive sound installation.

318
00:29:47.000 --> 00:29:52.000
 If you touch the stitched patch, then it makes sounds.

319
00:29:53.000 --> 00:00:00.000
 And it's positioned so that several repeaters can interact at the same time. Untertitelung des ZDF, 2020 you