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electrolobby | Virus in Fur
Im Vergleich zum „Ausstellungsraum“, der im Gefolge der Tradition eines Festivals ebenso wie schon allein durch dessen Zeitrahmen entsteht (und selbst das eigentlich Konnektive noch dem Gesichtspunkt des exemplarischen Stücks unterordnet), etabliert die electrolobby einen – temporären – „Lebensraum“. Hervorgegangen aus openX und unterdessen um die Kitchen erweitert, exemplifiziert sie den Projekten der Konnektivität zu Grunde liegende Prozesse. Für diese Art des Realisierens, die ihren eigenen Präsentations- und Aktionsrahmen schafft, ist die electrolobby Experimentierfeld und offenes Gelände für KünstlerInnen und Publikum. Für das Festival Ars Electronica ist sie zugleich der Proberaum für eine mögliche neue Tradition der Vermittlung.
Umgeben von den Workstations steht die Kitchen im Zentrum der diesjährigen electrolobby im Brucknerhaus – sowohl hinsichtlich der räumlichen Anordnung als auch im übertragenen Sinn, wonach bei den meisten privaten gesellschaftlichen Zusammenkünften die Küche der Ort ist, wo das erste Interesse am leiblichen Wohl in der Regel auch mit den interessantesten Gesprächen zusammenfällt. Die electrolobby-Kitchen bildet den Rahmen sowohl für den informellen Austausch der TeilnehmerInnen über deren Projekte wie über Themen des Symposiums, aber auch für Projektpräsentationen, Coding, Processing-Workshops ...
Erstmals findet die electrolobby heuer auch disloziert – in Form der Code Arena in der Stadtwerkstadt – eine Bühne. An vier Themenabenden werden jeweils in einer Stunde dreiminütige „Kurz-Präsentationen“ von Projekten durchgeführt, moderiert und einem Publikumsvoting ausgesetzt.
Wenn die Beobachtung des Projektes electrolobby für die Tendenz spricht, dass es eher evolutionär als von Ideen determiniert im Festival Platz greift, dann bestätigt sich damit zumindest die Zündung der 1997 mit openX skizzierten Idee für die Entwicklung eines „generativen“ Formates. In Erwartung etwaiger viraler Eigenschaften.
ELECTROLOBBY PARTICIPANTS
processing is a programming language, a graphical programming environment, an instructional user interface and, at the same time, a designer community. Workshops and demonstrations display the potential of Processing, which enables users—even those with no programming skills—to create dynamic screen designs with a high level of sophistication. Every piece of software developed thereby is made available at www.proce55ing.net to the community, which thus develops into an artistic, open source network.
Processing is an open project initiated by Casey Reas and Ben Fry. Participants onsite at the 2003 Ars Electronica electrolobby will be: Casey Reas (USA), Ben Fry (USA), Amit Pitaru (USA), Carlos Rocha (COL / USA), Hernado Barragan (COL / I), Golan Levin (USA), Lia (A), Marius Watz (FIN / D), Schoenerwissen (D), Juha Huuskonen (FIN)
www.proce55ing.netLeCielEstBleu The Paris-based collective named “LeCielEstBleu”—represented at the Ars Electronica Festival by two of its founding members, director Frédéric Durieu and Kristine Malden—will display its work consisting of algorithmic poetry, interactivity, and dynamically composed music from the LeCielEstBleu experimental, interactive website.
www.lecielestbleu.comThe demoscene “The demoscene” can be described as a digital underground art form. Worldwide, “the demoscene” consists of an estimated 15,000 active “sceners” who produce a large amount of coded art called “demos.” Every year, many demos are released as freeware on different computer platforms that show off the technological and artistic skills of their producers. For the sceners, the demoscene as a cultural phenomenon is a digital youth movement that copes with code, symbols, and digital communication as well as many different styles of artistic expression.
The winners and nominees of this year’s “scene.org awards” held at the “breakpoint digital underground arts festival 2003” will be put on public exhibit. Different projects and products from the demoscene will be presented and discussed.
”The demoscene” will be represented by individuals covering different aspects of the
scene:
Ekkehard “sTEELER“ Brüggemann (D): http://breakpoint.untergrund.net
Matti “Melwyn” Palosuo (SF): http://awards.scene.org
Markus “Droid” Pasula (SF): http://www.helsinki.fi/~mpasula/
Dierk “Chaos” Ohlerich (D): http://www.theproduct.dekuda.org kuda.org is a non-profit organization of Serbian artists, theorists, media activists and researchers in the field of ICT (information and communication technologies). It explores critical approaches to (mis)using ICT and emphasizes creative rethinking in enhancing network society. kuda.org is a content-providing platform for new cultural practices, media art production and social layout.
kuda.org will be represented by Kristian Lukic, Zoran Pantetic, and Branka Curcic. http://www.kuda.orgPure Data Connections In PureDataConnections, several PCs are interlinked by means of PureData in such a way that the result is a single machine that can broadcast multi-channel audio and video within a defined space and, while going about this operation, alter the machine code. In the initial machine configuration, data from the Internet become messages (UDO), messages become sounds (Automata), and sounds become images (Inak), whereby there is feedback into the space (ImpulseResponse).
PureDataConnections is another live experiment with a data space and codes for multimedia installations.
Artists: REMI = Michael Pinter (A) + Renate Oblak (A),
Algorithmics = Winfried Ritsch (A), Pi = Martin Pichlmaier (A)
http://algo.mur.at/pd/ars03
ARS ELECTRONICA ELECTROLOBBY KITCHEN PARTICIPANTS
Communication Grill Chang-Tei”
Kou Sueda & Koji Ishii “Communication Grill Chang-Tei” is an electric cooker for making Yakiniku (Japanese-style barbecue). Nowadays, we have the Internet and mobile phones, so we can communicate with people anytime, anywhere. But “connecting” people is full of surprises. This installation aims to make people think about the meaning of communication, and is a device for creating compelling and unexpected situations.
http://www.iik.jp/~cgc/contents/conceptEN.htmlCodePlay @Ume CodePlay@Ume brings together various code-oriented projects developed by students and faculty at the University of Maine (USA). These projects include: ALICE (an AI that monitors web health), The Pool (a virtual community for distributed creativity), Breakdown (a cultural-code-busting game prototype), and Internet2@UMe (a broad-band protocol for connecting university artists, researchers and faculty). These “open” projects approach code as tool, content, meme, and structure, and invite active participation by Ars visitors.
http://newmedia.umaine.edu/codeplay/DIVE The DIVE book/CD-ROM expands the world of digital abundance and edifies the legitimate free exchange of ideas, software, projects, and shared online resources. The publication presents documentation of the Kingdom of Piracy project; it provides an introduction into the world of free software, free networks, and collaborative online activities; further, it includes some free software including dynebolic, the bootable GNU / Linux platform for streaming media.
http://kop.fact.co.uk/DIVE/Roy Ascott (UK): Telematic Embrace Long before the emergence of e-mail and chat rooms, Roy Ascott had coined the term “telematic art” as well as begun investigating how computer networks function as artistic media and how this networked communication also changed the interrelationship among artists, art works and their audience. Roy Ascott presents his latest book entitled Telematic Embrace, a collection of illustrative essays written since the ‘60s that synthesize a wide range of cultural and artistic theories.
Roy Ascott: Telematic Embrace. Visionary Theories of Art, Technologies, and Consciousness, Edited and with an Essay by Edward A. Shranken, The University of California Press 2003MagNet MagNet is a network developed to support critical debate and resource sharing among independent print/web magazines in the field of electronic culture. Building on the strong editorial traditions of each partner, it is building infrastructure and knowledge exchange systems by which distribution, subscription, translation and editorial content can be improved within the network as a whole. Currently, MagNet is made up of nine magazines and five affiliated organizations, all of which are creatively engaged with the field of electronic culture. Through its publications, MagNet aims to help define this field as one of new and varied cultural forms, and to offer a potentially public space for the negotiation of cultural values.
By promoting the diversity of specific cultures and media content, MagNet seeks to simultaneously harness and critique current trends of globalization.
Slavo Krekovic (SK, 3⁄4 Review), Alessandro Ludovico (I, Neural), Georg
Schöllhammer (A, springerin) and Simon Worthington & Pauline van Mourik
Broekman (UK, mute) on MagNet.Eugene Thacker (USA): Biomedia University of Minnesota Press, “Electronic Mediations” series
Biomedia is a book about the future of the intersection of molecular biology and computer science. Adopting a media studies approach to biology, Biomedia is a critical analysis of research fields that explores the relationships between biologies and technologies, between genetic “codes” and computer “codes.” In doing so Biomedia looks beyond the familiar examples of cloning, genetic engineering and gene therapy, all of which are predicated on the centrality of DNA or genes. Instead, it looks to emerging fields in the intermediary zone between bioscience and computer science, a zone in which “life” is often understood as “information.”
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