Introduction to the presentations day

Results to the LowTech Sensors workshop that took place at St. Florian's

Demo on how to hack an Asuro robot and program it from the Arduino IDE.

Projects made with Python for mobile devices, including a small performance by Jurgen Scheible

***EXTRA***

Directly from the morphing universe Caratron invites the audience to transform their faces and merge them with each other.

Wrapping electronics with cardboard, a method for rapid prototyping. Meet the evil rabbit.

We'll see some demos of work developed in the hardware workshop from the lobby.

***EXTRA***

Piece part of the Pixel Spaces exhibition, and was presented in the Pixel Spaces Symposium.

An open source metaweb platform for the social extensions of websites.

Free and Open Source!!

Show of different musical interfaces including the Puredata program and, eventually, some physical interfaces.

We'll see some projects developed with this collection of software libraries for animation and video-based interactive systems.

The soldering-iron accolytes will come on stage and perform for us with their open hardware instruments.

Visuals by Alberto Garcia mixing faces from the audience.

The 2008 Ars Electronica Symposium is curated by Joichi Ito (J) - Activist, Entrepreneur, Venture Capitalist. Joichi Ito is the CEO of Creative Commons, a non-profit organization which provides free tools that let authors, scientists, artists, and educators easily mark their creative work with the freedoms they want it to carry.

Ecology of the Techno Mind presents a selection of works representing Featuring Art Scene from Kapelica Gallery (Ljubljana, Slovenia), artists who are deploying technology and science as a means of delving into social reality today. Among the projects’ themes are new media, biotechnology, space exploration and the use of computers in the medical field.
Exhibition: Academy of Fine Arts and Design, University of Ljubljana (SI), Iztok Amon (SI), BridA / Tom Kersevan, Jurij Pavlica, Sendi Mango (SI), Patricia Ando Cvetkovic in collaboration with Srdjan Prodanovic (SI), Stefan Doepner / f18institut (DE/SI), Janez Jansa (SI), Andrej Kamnik in collaboration with Marko Pihlar (SI), Sasa J. Mächtig (SI), Marko Peljhan (SI), Borut Savski (SI), Saso Sedlacek (SI), Ive Tabar (SI), Polona Tratnik (SI), Tao G. Vrhovec Sambolec (SI/NL), Dunja Zupancic & Miha Tursic & Dragan Zivadinov (SI) Performances: Marko Batista (SI), Miha Ciglar & Nika Autor (SI), Octex (SI), Schizogram / Luka Dekleva & Luka Princic (SI), TILT / Tomaz Grom & Tao G. Vrhovec Sambolec (SI), Irena Tomazin (SI)
Featured Art Scene Guests: Paul Granjon (FR/UK), Ivan Marusic Klif (HR), Jonathan Schipper & Amelia Biewald (US), Philip Ross (US), Zoran Todorovic (RS), Jennifer Willet (CA)
Ars Electronica will be featuring works by the following artists and artistic groups: Iztok Amon, Marko Batista, BridA (Tom Kersevan, Jurij Pavlica, Sendi Mango), Miha Ciglar & Nika Autor, Patricia Ando Cvetkovic, Luka Dekleva & Luka Princic, Stefan Doepner (f18institut), Tomaz Grom, Janez Jansa, Andrej Kamnik in collaboration with Marko Pihlar, Sasa J. Maechtig, Octex, Marko Peljhan, Borut Savski, Saso Sedlacek, Irena Tomazin, Polona Tratnik, Tao G. Vrhovec Sambolec, Dunja Zupancic & Miha Tursic & Dragan Zivadinov

http://www.noordung.net
http://www.umbot.com
http://postgravityart.org

“Nico Nico Douga” is the service where you can post your comment “on” videos. Nico Nico Douga is not only video sharing servicebut also video communication service. What’s so new about Nico Nico Douga? Asynchronous live show: Users feel a sense of unity as if they are joining in a live show. Nico Nico Douga as an “Asynchronous live show” was awarded with Good Design Award 2007 Communication Design dept and Prix Ars Electronica 2008 Digital Communities Category. Nico Nico Douga is a community which enables users to participate in an “Asynchronus live show. http://nicovideo.jp/

EMAN-European Media Art Network ist ein für zwei Jahre von dem EU-Kulturprogramm gefördertes Kooperationsprojekt zwischen VIVID, Birmingham (England), IMPAKT (Utrecht, Niederlande), InterSpace (Sofia, Bulgarien), Werkleitz Gesellschaft (Halle, Deutschland). Ähnlich des bisherigen Programms EMARE-European Media Art Residence Exchange werden 2008 und 2009 insgesamt 16 Medienkünstler durch das Programm international gefördert. Eine abschließende Gemeinschaftsausstellung der entstanden Projekte ist für Ende 2009 geplant.

Since long before the popularization on the Web in mid 1990s, online communities have been a significant driving force for the development of the Internet. From early Computer Hobbyist BBS of the 1970s to FLOSS developing communities, from Fidonet to Indymedia, from Free-Net to civic networks, from The Well to Nettime, over the last 30 years artists, hackers, activists and simple citizens have pursued the utopia of a bottom-up digital infrastructure where technical applications, forms of organization, political and cultural issues could seamlessly integrate as elements constituting coherent meanings and modes of action.
However, due to the increasingly strict law on intellectual property, the proliferation of ‘dataveillance’ technologies related to the War on Terror, the crisis of the alliance between Internet creatives and entrepreneurs and the explosion of a Web 2.0 industry fostering a ‘cult of the amateur’, in late 2000s the libertarian cyberculture paradigm underpinning the (now) mainstream idea of online community has come to a crossroads. Some of the utopias based on the cybernetic vision of information technology as the source of a second industrial revolution bearing the promise of emancipation for the citizenry had to face the counter-evidence of both a more and more controlled and territorialized Internet and of a newly new economy based on the exploitation of informal cognitive labour. As a consequence, the same notion of online community is at stake, as the paradoxical weakness of this concept demonstrates: while communitarian ties enabled by digital media are more and more invocated, the Internet is revealing itself as a much more bureaucratic and profit-oriented domain than ever. What are, therefore, the conditions under which today it is still possible to talk about virtual communities?
If the cyberculture paradigm is showing its constraints, other paradigms are taking over the notion of ‘digital community’. If we follow the newspapers’ cues as well as blog postings on Internet culture, it seems that social actors cannot avoid being involved in multiple Web communities that provide them with new empowering capabilities. Still, it is by no means certain that what is meant by the term ‘online community’ in all these much diverse domains relates to the same thing. Cultural, political and social considerations converge in enlightening an ‘opacity’ of online communities, a sort of resistance to being ‘grasped’. Differently from earlier studies carried on in mid '90s, today the researcher interested in digital social assemblages encounters more and more problems in setting the boundaries of her object of study. Do digital communities reside in the domain of politics, business, media or these all? Where is the threshold between the social and the technological set when it is the software that rearranges the regimes of access and visibility? Does studying digital communities even make sense, if the possibility to set any boundary is explicitly ruled-out by the networked-individuals hypothesis?
From a social sciences perspective, efforts have often concentrated on the extent to which online collaboration can be seen as a community-making activity, rather than a simple transaction, and on the indicators that allow to distinguish ‘successful’ communities from other types of looser aggregations. Conversely, this lecture discusses the early results of a research aiming at adopting a different epistemological approach towards social assemblages on the Net. By following some crucial insights provided by the Actor-Network Theory, this research has preferred to investigate social actors’ own interpretations of the relationship between ICT and social ties. By analysing the Ars Electronica’s Digital Communities Archive, the research has thus tried to perform a way of studying online forms of collaboration that takes as the main puzzle to be solved what is usually taken for granted. ‘Digital Community’ is what has to be eventually found at the end of the research, also by questioning leading sociological positions.

Jan-Peter Sonntag versucht nichts Geringeres, als die Entgrenzungsbewegungen der Moderne zu vollenden, indem er ein masseloses Interface entwickelt und die elektrischen Träume aus zwei Jahrhunderten Wirklichkeit werden lässt.
Mit Beiträgen von Hans Christ & Iris Dressler, Sebastian Döring, Wolfgang Ernst, Wolfgang Hagen, Friedrich Kittler, Verena Kuni, Ana Ofak, Heinz Schott, Jan-Peter E.R. Sonntag, Joachim Stange-Elbe, Henry Westphal, mit einem Nachwort von Andreas Broeckmann, Detlev Schneider und Carsten Seiffarth, erscheint im Kulturverlag KADMOS.
In den sonArcs von Jan-Peter E.R. Sonntag transformieren offene Hochspannungsplasmen elektrische Energie in das fast vollständige Spektrum elektromagnetischer Wellen so auch in formiertes Licht. Die Plasmen erzeugen Schallwellen und können gleichzeitig »funken«, d.h. senden und empfangen. Ein apparatives System, dessen Denkfiguren in das Zentrum des modernen Autonomiestrebens und in die Auseinandersetzung mit Helmholtz, Hertz, Duddel, Tesla, Lenin sowie Stockhausen, Warburg und de Maria führen.
Das sonArc:project – Der domestizierte Blitz von Jan-Peter E.R. Sonntag ist ein Zyklus in wechselnden Formaten. Er umfasst multimediale Kompositionen, Installationen und Salons, in denen der Künstler sich gemeinsam mit Naturwissenschaftlern, Medientheoretikern und Technikern auf die Suche nach dem Wesen der Elektrizität und den elektrisch-elektronischen Wurzeln und Visionen unseres Medienzeitalters begeben hat. Dieses von TESLA Berlin herausgegebene Kunstbuch mit zahlreichen Abbildungen und einer DVD dokumentiert die künstlerischen Realisationen des Projekts sowie die theoretischen Beiträge über die Erscheinungsformen und die Steuerbarkeit der Elektrizität, über Blitze, Äther und Visionen der Kommunikation.