Like the 2013 Ars Electronica Festival itself, a long gestation period has also preceded Wir sind hier (We Are Here), the live performance in Linz’s Tabakfabrik that will kick off this year’s conclave. Since mid-July, the website www.wir-sind-hier.org has been the hub of the cross-medial art project launched by artist, university instructor and software entrepreneur Salvatore Vanasco (IT/DE).

Opposition to Surveillance

Here, Vanasco and his numerous cohorts have been publishing the project’s themes, putting them up for discussion and providing updates about ongoing actions. The target audience of Wir sind hier is people who oppose the government’s data retention efforts, PRISM and the many other forms of digital surveillance and censorship, and people who refuse to yield to the sense of hopelessness and the indifference that come with this territory.

A Feeling of Uneasiness

The festival’s opening ceremony will also call to mind what surveillance and censorship can lead to. Attendees will quickly be overcome by a vague feeling of apprehension—and this is utterly intentional. Surveillance cameras keeping an eye on everyone present dot the perimeter. Other details also strongly suggest that these proceedings are under total surveillance. And in the middle of the courtyard: a statue made of data storage media. What’s up with this?

80 Years after the First Nazi Book Burnings

Suddenly, masked figures intrude into the assembled throng and begin dividing people up into groups. The music, familiar oldies at first, turns into earsplitting noise. A little girl, her face displayed on a jumbo-format screen, begins reading a text aloud. We are reminded of the book burning on May 10, 1933, when an estimated 20,000 volumes went up in flames in the middle of Berlin. And over the course of the performance—including a fly-by of the Ars Electronica Futurelab’s quadcopter swarm—we are made cognizant in no uncertain terms of dangerous tendencies in today’s control-oriented society.

GET LOUD

Another way to get involved is by joining the Wir-sind-hier chorus. All are invited to read a short excerpt from Bertolt Brecht’s 1925 poem “Gegen Verführung” (Against Seduction) and upload their words in the form of a short video to the project website. Together, these many voices will form a chorus whose debut will also be part of the show at the Tabakfabrik.
The project producers are also endeavoring to capture the sounds of the destruction of a culture—from the impact of a wrecking ball to the crackling of burning paper and the electronic beep of an error message. Composer FM Einheit (DE) will use them as part of the soundtrack of the live show in Linz.

With Jovica Aleksis (DE), Gözen Atila (TR), Ulé Barcelos (PT), Dominik Berg (DE), Matti Casper Blunck (DE), Rica Blunck (DE), Yoko Gretel Blunck (DE), Claudius Brodmann (DE), Matthias David (DE), Elisa de Paolis (IT), Daniela Dibelius (DE), FM Einheit (DE), Stephanie Geiger (DE), Marcus Jäger (DE), Craig Johnson (NZ), Johannes Kirchner (DE), Francesca Kühlers (USA), Traute Kühlers (DE), Jan Lachenmayer (DE), Sybille Luhmann (NL), Andy Müller-Maguhn (DE), Timo Maier (DE), Jürgen Mertens (DE), Steffen Neubauer (DE), Kien Nguyen (DE), Felix Ostrowski (DE), Bilgehan Öziş (TR), Laszlo Puskas (DE), Rafa Quinonero (ES), Ludwig Seyfarth (DE), Rolf Wolkenstein (DE), Cornelia Wunderlich (DE), Laura Zidda (IT).

Do 5.9. 20:30
Tabakfabrik Linz

The CyberArts – Exhibition shows the award-winning works of the Prix Ars Electronica 2013.

El Campo de Cebada

El Campo de Cebada (ES)
Golden Nica Digital Communities

Refugees United is a non-profit organization that makes a global, anonymous, user-driven search system available to families of refugees, which enables them to search for missing relatives independently of third parties.

Visualizing Palestine

Visualizing Palestine (PS)
Award of Distinction Digital Communities

Visualizing Palestine is committed to social justice and change for the better in Palestine. It focuses on the failure of the organizations involved in the Israeli-Palestinian conflict, effective deployment of communication tools (and not relying exclusively on dry-as-dust reports, tables and graphics) and the inability of the media to deliver unbiased coverage (instead of providing one-sided reportage that concentrates on Hamas). The response that this crew’s data analysts and media designers have come up with features data put forth in an attractive, coherent way.

The Cosmopolitan Chicken Project

Koen Vanmechelen (BE)
Golden Nica Hybrid Art

The investigation of biocultural diversity and identity that Vanmechelen has been conducting since 1999 combines art, science and aesthetics. In his Cosmopolitan Chicken Project, the artist has crossed species of chickens from many different countries. The aim: breeding cosmopolitan poultry with genetic material from every one of the world’s chicken species.

Five Variations Of Phonic Circumstances And A Pause

Tania Candiani (MX)
Award of Distinction Hybrid Art

This work by Tania Candiani tunes in to the culture of hearing and audio technologies. It’s based on speaking machines and hearing systems, which she implements for poetic actions with machines, language, codification and the audio texture of narration. Each of the machines in Five Variations … addresses and expands on a particular conception associated with devices, instruments or technologies, and subjects their sounds or tonal characteristics to a variation.

Mycotecture

Phil Ross (US)
Award of Distinction Hybrid Art

Since the early 1990s, Phil Ross has been experimenting with living fungi which he introduces into a medium such as sawdust. Within a week, the mixture solidifies into a very versatile, plaster-like mass that Ross has used to construct furniture and a teahouse. The fact that it’s 100% organic and biodegradable isn’t the only reason why his invention is a terrific sustainable alternative to petroleum-based materials.

The Blind Robot

Louis-Philippe Demers (CA/SG)
Honorary Mention Hybrid Art

Louis-Philippe Demers set out to transform a robot arm from a cold precision tool into a sensitive instrument, and thereby create a new form of intimate touch by social robots. In his installation, the mechatronic arm gently feels the faces and upper bodies of installation visitors just like a blind person would do. Finally, a monitor depicts what the robot “saw” in going about this.

Pancreas

Thomas Feuerstein (AT)
Honorary Mentions Hybrid Art

Pancreas is a processual sculpture that converts books into sugar that, in turn, serves as nourishment for human brain cells. Book pages that have been shredded and soaked in water are put into a bio-fermenter serving as an artificial intestine where bacteria break down the cellulose into glucose. Once this material is filtered and cleaned, it’s fed to brain cells in a glass container. But this artificial brain is on a strict diet—its sole source of nutrition is one of the milestones of philosophy, Hegel’s The Phenomenology of Spirit.

frequencies (a)

Nicolas Bernier (CA)
Golden Nica Digital Musics & Sound Art

frequencies (a) is a sound performance combined with light. It blends digital sounds with the crystal-clear tones of a tuning fork. By means of computer-controlled magnetic vents, Bernier imparts precise strikes to a tuning fork. This is accompanied by the pulsating of glistening lights, and the space is filled by a composition of light and sound.

Borderlands Granular

Chris Carlson (US)
Award of Distinction Digital Musics & Sound Art

Borderlands Granular is a new musical instrument that makes it possible to experiment with, touch and modify sounds by means of granular synthesis, a technique that uses stratification and/or overlapping of very brief sound fragments or “grains” to produce complex, dynamically changing timbres and tonal structures. The software supports flexible improvisation in real time and enables users—defined as organizers of sounds—to work directly with sound material even if they lack any formal musical background.

SjQ++

SjQ++ (JP)
Award of Distinction Digital Musics & Sound Art

This audiovisual tool enables multiple users to simultaneously compose music in real time. Via interaction, participants create sound data that are, in turn, visualized and depict the behavior of the respective users. The audience experiences the performance as an inseparably interwoven construction of sounds and visual elements. The sounds and images are not only perfectly synchronized; they also reciprocally influence and modify one another.

Pendulum Choir

Michel Décosterd (CH), André Décosterd (CH)
Golden Nica Interactive Art

Pendulum Choir is choral piece for nine a cappella voices and 18 hydraulic cylinders. The singers are engaged in a battle/playful encounter with gravity on tilting pedestals that, as an ensemble, form a living tonal body. This assumes various physical states that, in turn, influence its acoustic behavior—abstract, repetitive, lyrical or narrative. The forms of expression include subtle vocal polyphonies, lyrical flights of fancy, and dark, obsessive rituals.

Voices of Aliveness

Masaki Fujihata (JP)
Award of Distinction Interactive Art

Participants ride a bicycle equipped with a GPS logger and a video camera around a track prepared especially for this project—the so-called shouting circuit. While doing so, they’re requested to scream their brains out! As a collection of these loops and cries, Voices of Aliveness is a collective vocal sculpture that will be reproduced in cyberspace in the form of a ring.

Rain Room

rAndom International (GB)
Award of Distinction Interactive Art

Rain Room is a 100-m2 field of dripping water. The meticulously choreographed rainfall reacts so sensitively to installation visitors’ presence and movements that they can cross this high-precipitation zone without getting wet.

Down with Wrestlers with Systems and Mental Nonadapters!

Kawarga Dmitry & Elena (RU)
Honorary Mentions Interactive Art

Via a treadmill, installation visitors set a “social mechanism” into motion and can feel a bit like God as they go about it, since the movement of the mechanism as well as of the figures inside depend on the visitor’s own pace. The upshot is experiencing a sort of split consciousness: Does society co-opt us all, or do we create this enslavement mechanism ourselves? Reciting the Dada Manifesto into a microphone causes the installation to vibrate and several of the figures begin to tumble out of it. A monitor displays images captured by a mini video camera inside a black box in which another reality is to be found: the world of the artist.

Ishin-Den-Shin

Olivier Bau (FR), Yuri Suzuki(JP), Ivan Poupyrev (RU)
Honorary Mentions Interactive Art

In his 2012-13 series Angles, Daniel Rozin applies a new form of geometric image production. It dispenses with the usual rectangular grid and is based instead on rotation. The Angles Mirror, a triangular block of steel with rotatable pointers—doesn’t construct the image out of various levels of lightness and darkness; instead, it depicts the mirror image of the viewer taken by the camera in the form of various angles of inclination. Rather than a photorealistic picture, the Angles Mirror represents the three-dimensional movement of a figure that results from the change of distance from the reflecting sculpture.

AHORA. A song in the Hypertemporal Surface

Hernán Kerlleñevich (AR), Mene Savasta Alsina (AR)
Honorary Mentions Interactive Art

Software and installation, AHORA is a composition environment for music in space. A composed interactive song fragmented into its sound elements lies on the floor of the installation space. The sound elements make up the temporal corpus of the piece, which awaits the step of an installation visitor to make it resound. The sound elements are reordered depending on the visitor’s path, and thus the piece is rewritten depending on the particular route.

The exhibition is shown at the OK Offenes Kulturhaus im OÖ Kulturquartier during the following hours.

OK Offenes Kulturhaus im OÖ Kulturquartier
Opening Thu 5.9. 18:00
Thu 5. – Fr 6.9. 10:00 – 21:00
Sat 7.9. 10:00 – 23:00
Sun 8. – Mo 9.9. 10:00 – 21:00

Panel 1

Fri 6. 9. 10:00 – 13:30
Brucknerhaus

Following opening remarks by Ars Electronica artistic director Gerfried Stocker, the first session will begin with a look at and inside the site of human memory: our brain. Neuroscientist John Dylan Haynes will provide an introduction to the latest research on cognition and the brain. He’ll screen selected scenes from some classic science-fiction films—including “Total Recall,” of course—to portray the current state of research in neuroscience and future prospects in this field.

From Remembering to Forgetting

Mapping the network of nerves in the human brain will be the subject of a speech by neuroscientist Alfred Anwander of the Max Planck Institute for Human Cognitive and Brain Sciences. He’ll report on diffusion tensor imaging and connectome research, methods scientists are now using to better understand human memory.

In light of these insights into the latest research into the brain, the symposium will turn to the selective character of remembrance and the various forms of forgetting.

Aleida Assmann, a scholar in the fields of literary studies, will analyze the omnipresence of the past, which, thanks to new media and virtually unlimited data storage capabilities, can be accessed anytime, anywhere.
Arno Villringer, likewise a staff neuroscientist at the Max Planck Institute for Human Cognitive and Brain Sciences, will then discuss the loss of memory and go into dementia from neurological and clinical perspectives, and author/interpreter Helga Rohra, a woman suffering from Lewy Body Dementia, will give an account of daily life with this condition.

10:00 – 10:20 Intro GS
10:20 – 11:00 John-Dylan Haynes
11:00 – 11:30 Aleida Assmann
11:30 – 11:55 Alfred Anwander
11:55 – 12:25 Q+A und Pause
12:25 – 12:50 Arno Villringer
12:50 – 13:15 Helga Rohra
13:15 – 13:30 Q+A

Fri 6. 9. 10:00 – 13:30
Brucknerhaus

Panel 2

Fri 6. 9. 14:30 – 18:00
Brucknerhaus

The second session begins with a consideration of nature’s memory, DNA. Biochemist Barbara Hohn will discuss the genetic and epigenetic memory of animals and plants, and particularly elaborate on how they pass on what they remember—from leaf to leaf, for instance, or from parent to offspring.

Mathematician and zoologist Nick Goldman teams up with artist Charlotte Jarvis to consider the prospects of someday using DNA as the perfect data storage medium. And nobody’s better qualified than Goldman, who was a member of a research group that succeeded in converting an mp3 file into DNA and back again.

Cognitive Computing

Another view of the future of memory focuses on the vision of someday being able to computer model human memory. The Synapse Project in the US and the Human Brain Project in Europe are at the forefront. Can a computer learn how a human being thinks? Dharmendra S. Modha, a cognitive computing specialist at IBM, is convinced of this. Via teleconference, he’ll report on his work on computer systems modeled on the human brain.

The many major challenges that have to be overcome in order to simulate the human brain are the grounds for a more skeptical view of this undertaking by Hans Ulrich Dodt, an expert in medicine, physics and bio-electronics at the Vienna University of Technology (AT).

To conclude the first day of the symposium, we’ll return to the neurosciences as well as to art. Rodrigo Quian Quiroga, head of the University of Leicester’s NeuroEngineering Lab, will talk about his research on so-called concept cells—often referred to as Jennifer Aniston neurons—and tell about how his research brought him to the works of the great Argentine author Jorge Luis Borges.

14:30 – 15:00 Barbara Hohn
15:00 – 15:25 Nick Goldman
15:25 – 15:50 Charlotte Jarvis
15:50 – 16:20 Q+A und Pause
16:20 – 16:40 Dharmendra Modha (Tele-Talk)
16:40 – 17:10 Hans-Ulrich Dodt
17:10 – 17:40 Rodrigo Quian Quiroga
17:40 – 18:00 Diskussion

Moderation: Michael Doser (AT/CH)

Fri 6. 9. 14:30 – 18:00
Brucknerhaus

Panel 3

Sun 8. 9. 14:30 – 17:00
Brucknerhaus

The third session will consider the cultural and technological history of memory recording devices. Claudia Schmölders, a scholar in the field of cultural studies, will present her impressive research on the presence or absence of female voices in historical sound archives. Media philosopher Frank Hartmann will take symposium participants back to the early history of Information Society—to the fantastic lifework of Paul Otlet and his ground-breaking prototype of a universal library that’s often called the first forerunner of the internet. Michael Buckland, professor emeritus at UC Berkeley, will recall another pioneer of modern information processing, Emanuel Goldberg. Catapulting us back into the present will be Hiroshi Ishiguro, the star of Japanese robotics research. He’s using robots and androids to preserve the memory of an extraordinary Japanese actor.

14:30 – 15:00 Claudia Schmölders
15:00 – 15:30 Frank Hartmann
15:30 – 15:45 Q+A
15:45 – 16:15 Michael Buckland
16:15 – 16:45 Hiroshi Ishiguro
16:45 – 17:00 Diskussion

Moderation: Xaver Forthuber (AT)

Sun 8. 9. 14:30 – 17:00
Brucknerhaus

Participants

Alfred Anwander (DE) is a neuroscientist and connectome researcher at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig who is making important contributions to research on anatomic linkages with an emphasis on language networks in the brain and learning to speak.

Aleida Assmann (DE) is a neuroscientist and connectome researcher at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig who is making important contributions to research on anatomic linkages with an emphasis on language networks in the brain and learning to speak.

Michael K. Buckland (UK/US) is Emeritus Professor, University of California, Berkeley, School of Information. He has written extensively about library services, the organization of knowledge, and the history documentation.

Hans Ulrich Dodt (DE) is professor of solid body electronics at the Vienna University of Technology. He uses optical methods to visualize nerve cells and take 3-D flights through the transparent brain. In his interdisciplinary research field, bioelectronics, he applies approaches from astronomy to problems in neuroscience.

Nick Goldman (UK) works at the European Bioinformatics Institute in Hinxton (UK), researching algorithms to study genome evolution. He holds degrees in mathematics and zoology from the University of Cambridge.

Frank Hartmann (DE) is a media philosopher and professor at the Faculty of Art & Design, Bauhaus-University Weimar, Germany. He has published several book on media theory, media archaeology and visual communication.

John-Dylan Haynes (UK/DE) is a psychologist, neuroscientist and Professor of Theory and Analysis of Large-Scale Brain Signals at the Bernstein Center of Charité Berlin. Haynes and his team conduct research on the neuronal basis of consciousness, volition, intentions and free will. They have used MRI technology to show that decision-making is initiated by subconscious brain processes.

Barbara Hohn (AT/CH) is a biochemist at the Friedrich Miescher Institute in Basel. Her fields of research include genetic expression and recombination as well as environmental influences on the stability of plant genomes.

Hiroshi Ishiguro (JP) has been a Professor in the Department of Systems Innovation at the Osaka University since 2009 and Group Leader of the Hiroshi Ishiguro Laboratory at the Advanced Telecommunications Research Institute. His research interests include sensor networks, interactive robotics and android science.

Charlotte Jarvis (UK) is currently artist in residence at The Netherlands Proteomics Centre. Last year they collaborated on the project Blighted by Kenning in which the Universal Declaration of Human Rights was encoded into DNA. This year Charlotte and the NPC are working on Ergo Sum, in which Charlotte will be creating a second self using body parts grown from her stem cells.

Dharmendra Modha (US) has done pioneering work in the field of artificial intelligence and memory simulation. He set up the Cognitive Computing division at IBM’s Almaden Research Center and heads the DARPA SyNAPSE project. He and his team are working on a computer system that emulates the essential functions and structures of biological brains.

Rodrigo Quian Quiroga (AR) Rodrigo Quian Quiroga is the director of the Centre for Systems Neuroscience and the head of the Bioengineering Research Group at the University of Leicester. His main research interest is on the study of the principles of visual perception and memory. He discovered what has been named “Concept cells” or “Jennifer Aniston neurons”—neurons in the human brain that play a key role in memory formation.

Helga Rohra (DE) is an interpreter and author. She has come out as someone suffering from dementia and is an activist on behalf of her fellow sufferers.

Claudia Schmölders (DE) is an interpreter and author. She has come out as someone suffering from dementia and is an activist on behalf of her fellow sufferers.

Arno Villringer (DE) is a neuroscientist at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig. Among his fields of research are neurophysiological processes in the brain activity of human beings as well as regeneration processes in the brain—for example, after a stroke.

With dramatized scenes, excerpts from his impressive musical oeuvre, and the voice of Harald Serafin, the voestalpine Klangwolke will bring Anton Bruckner to life in 2013.

Parov Stelar will musically update the great composer, and Ars Electronica Solutions is contributing a smartphone app to enable audience members to browse through Bruckner’s diary during the weeks leading up to the spectacle. Users can find out about the facts & circumstances of the composer’s life as he went about his creative work. The application cites the original diary entries conscientiously recorded by the great man, and places them in their proper historical context. The result is a detailed picture of Bruckner’s world and of the many highs and lows that characterized his life.

The World’s Largest Smartphone Orchestra

[youtube:http://www.youtube.com/watch?v=3KqP1hUdu_M&w=600&h=320]

The second part of the app gets deployed during the Klangwolke itself. “Alle Menschen werden Bruckner” transforms spectators’ smartphones and tablets into musical instruments, and unites them into the world’s largest smartphone orchestra, which will play the opening notes of Bruckner’s 4th Symphony together with the Bruckner Orchester Linz. And all of it via live stream on the internet. Who knows—maybe Anton Bruckner will even be listening in?

App for iPhone and iPad
App for Android

Sat 7.9. 20:00
Donaupark

Wolfgang Fadi Dorninger’s Aural Memory Machine is an six-channel sound installation. Festivalgoers and other visitors to Linz’s St. Mary’s Cathedral—with or without a musical background or technical skills—are the ones who play it. All they have to do is enter any text they want using a Midi keyboard at one of eight terminals on site. In real time, the texts launch field recordings of the acoustic surroundings, which are grouped into various thematic clusters.

Text or Sound – or Both?

Up to eight sound designers can simultaneously explore the potential of the Aural Memory Machine. They must constantly decide whether they want to produce text or code, or participate in the design of a temporary acoustic environment in the Cathedral—or both.

Nightly Concert

The culminating highlight is a nightly concert by Wolfgang Fadi Dorninger, Petra Anlanger (AT), Richard Eigner (AT), Georg Edlinger (AT), Volker Kagerer (AT) and Wolfgang Kreuzhuber (AT) and associates, in which they use the same instruments as visitors but play a predetermined repertoire: selected texts from the Ars Electronica Catalog.

Mariendom

Sa 7. 9. 12:00 – 17:00, 20:00-23:00, Live-Performance: 23:00 – 24:00
Mariendom

Orchestral music and digital sounds, on one hand; live electronics and visualizations on the other—since 2002, these have limned the program of the Ars Electronica Festival’s Big Concert Night produced jointly with the Brucknerhaus and the Bruckner Orchester.
The overture is Acoustic Time Travel by Prix Ars Electronica Collide@CERN prizewinner Bill Fontana (US), followed by Radiologic by the duo of Carl Stone (US) and Gil Kuno (JP).
Next up is a short film, Welcome Transients by Ernie Kovacs (US). Then, the Bruckner Orchester Linz conducted by Dennis Russell Davies (US/AT) will perform the 10th Symphony by Philip Glass (US). The program continues with Requies by Luciano Berio (IT) and a performance by vibraphone soloist David Friedman (US) of By the Reflecting Pool by Leah Muir (US).

Intermezzo in the Exhibition

The TOTAL RECALL exhibition will then be the setting of performances by Yuri Suzuki (JP), Keith Lam (HK) and Michelle Ngai (TW). They will personally present their works on display there and musically accompany the installations The Sound of the Earth and Device Playing: Cassette Recorder (II).
A special part features the work of Roberto Paci Dalo (IT): the Austria premiere of his audiovisual production Ye Shanghai about the Jewish ghetto in Shanghai during and after World War II.
The electronic finale stars re-lay (Tobias Ehrhardt, AT) & 19 hertz (Emanuel Jauk, AT) with cut.repeat as well as Daito Manabe and Satoru Higa (JP).
The accompanying visualizations are by Arístides García (ES) and Andreas Koller (AT/UK).
Music performed during the breaks between acts is by MFRedman Collective.

Lentos, Freiraum

19:00 Bill Fontana (US) – Acoustic Time Travel
Created under the auspices of the Prix Ars Electronica Collide@CERN Artist in Residence Program

Lentos, Auditorium

19:30 Carl Stone & Gil Kuno – Radiologic

Brucknerhaus, Großer Saal

20:00 Ernie Kovacs: Welcome Transients (Film)
20:10 Bruckner Orchester Linz (AT), Dennis Russell Davies (Dirigent US/AT): Philip Glass: 10. Sinfonie
20:50 Roberto Paci Dalo (IT): Ye Shanghai

Brucknerhaus, Foyer
21:20 TOTAL RECALL: Performance Intermezzo

Yuri Suzuki (JP): The Sound of the Earth

Keith Lam (HK) & Michelle Ngai (TW): Device Playing: Cassette Recorder (II)

Brucknerhaus, Großer Saal
22:00 Bruckner Orchester Linz (AT), Dennis Russell Davies (Dirigent US/AT): Luciano Berio: Requies
22:30 Bruckner Orchester Linz (AT), Dennis Russell Davies (Dirigent US/AT), David Friedman (US) (am Vibraphon): Leah Muir: By the Reflecting Pool
23:10 re-lay (Tobias Ehrhardt) & 19 hertz (Emanuel Jauk) (AT) mit cut.repeat
23:30 Daito Manabe (JP) & Satoru Higa (JP)

The visualizations of the orchestral pieces are by:
Berlin – Arístides García (ES) and Alexander Koller (AT/UK)

Music animations during transitional phases by:
MFRedman Collective

Lentos Kunstmuseum Linz, Freiraum, Auditorium
Brucknerhaus, Großer Saal, Foyer

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ein ambitioniertes internationales Nachwuchsteam erarbeitet im GameLab des u19 – CREATE YOUR WORLD Zukunftsfestival der nächsten Generation ein anspruchsvolles Game.