Face to Facebook deals with questions about privacy in online contexts based on the most iconic of platforms: Facebook. Following the Facebook principle, the artists have built a dating site into which they have imported from a million user profiles, using special software, 250,000, which they then classified, by means of a specially developed facial recognition algorithm, into categories based on features and expressions.
With a considerable amount of irony Ho Tzu-Nyen, one of the most renowned Singapurian filmmakers, borrows the image of Newton's apple as a metaphor for the futile challenge artists face in terms of achieving a creative inspiration (or rather, one after another) of their own accord.
CoS (Consciousness of Streams) activates transmediale.11 as an ubiquitous, cross-medial publica(c)tion live stream that will not end with the festival itself. CoS is an environment, a workshop series, a performative practice, and an insider view on our new way of life where cities, relationships, businesses and leisure have become information displays. Acting as the CoS Input/Output channel for the stream will be Angel_F, the digital son of Derrick the Kerckhove and the digital prostitute Biodoll.
With this project the Australian games theorist Mez Breeze examines how processes of knowledge production and entertainment models change under the influence of artificially generated stimuli. The work belongs to the “Augmentology 1[L]0[L]1_project“ which addresses how information is absorbed within artificial environments making its insights accessible via a link-in system
One day, a spectacular vision popped into Ei Wada's mind. It was the image of abandoned electrical appliances being played as musical instruments in the streets of a city. Through experimentation with old CRT televisions and VCRs, the young artist from Japan was finally able to realize his idea. He now has a computer-controlled percussion instrument with the range of an entire octave, on which he will give rousing, rhythmic performances daily during the festival.
The current edition of Labor Berlin features American-born artist and filmmaker Reynold Reynolds. Influenced early on by philosophy and working primarily with 16mm and Super 8mm film as an art medium he has developed a common film grammar based on transformation, consumption and decay. Reynolds frequently depicts disturbed psychological and physical themes, increasingly provoking the viewer's participation and dismay.
The film is part two of the Bearing Witness trilogy which is concerned with how we, as a culture, watch ourselves, especially in moments of great emotional significance. With footage culled from mainstream media and television, the single-channel videos (The Eternal Quarter Inch, Somewhere Only We Know, The Burning Blue) distill moments of sincerity from perhaps insincere sources.