Recorded during Ars Electronica 2010 at the old tabaco factory in Linz. The factory was in use until 2009.
For days Yuichiro Katsumoto performed shadow fights with his mystical sword AMAGATANA outside my shop in Second City. The Sound of clashing swords became part of the permanent sound track of the real virtual environment in MarienstraÃŸe. On the last day a new kid on the block finally challenged him: Blumenberg, one of the Second City Residents had turned his iBook in an adequate weapon by poking around with it’s acceleration sensor. A good example how everyday technology can be used in virtual warfare. Aram Bartholl filmed and first blogged it. Read his blog in the coming days for more footage and reports on Second City.
Tobias Leingruber’s kitchen presentation at Second City / Ars Electronica 2007 was an small highlight, that only people who know him could expect. Tobi is a student at Merz Academy in Stuttgart where I met him first and where Olia Lialina does an excellent job at pushing students beyond the conventions of the usual fashionable media courses.
In Linz he presented two projects: studivz_crawler.6x.to , a crawler that crawled the database of the popular German student community Studivz, and Tobi’s Timemachine , a Firefox Plugin, that restyles websites on the fly so they look like they were designed in the 90s. Both projects are not only extremely funny, they are also elegantly put the finger on aspects of the web. While Studivz Crawler deals with questions of privacy (and should have been presented more prominently at thise year’s Ars Electronica “Goodbye Privacy”), Timemachine focuses on the aesthetic evolution of the web. It made complete sense to present time machine in Second City, since the aesthetic of Second Life reminds often of the early days of the web. A reason for that may be that the motivation to run a shop in Second Life may be quite similar to that of the early Homepage Owners who thought that just be present in the world wide web might lead to some kind of success. Just like the early web, Second Life is not driven by professional designers. Tobi seems to love this kind of trash design and one it is great that he seems to get full support from his teachers.
He did not get much support from the Erweiterungen.de, a popular German portal for Mozilla & Co add-ons: They did not accept Timemachine, because they thought it was “artistic” and had no practical use. It is quite amusing that Tobi’s add-on gets discriminated for being art by people who are not experts in the field of art (artists, critiques, curators etc.). When experts and non-experts disagree whether something is art or not, the non-experts are mostly the ones who vote against the artistic nature of the object (or concept) in question.
In this case Timemachine is obviously seen as inferior or at least as not suitable because of it’s artistic nature. It seems like the operators feel that they have to protect users from art. It kind of reminds of the way graffiti is often treated. In a way that is of course not surprising, since it is also art in public space, on the other hand it is hard to argue that it is damaging. Erweiterungen.de had apparently no problem with Knut, an add-on that connects to a blog featuring the latest news on Knut, the polar bear baby in Berliner Zoo. Maybe Tobi’s art is not cute enough. Certainly not cute is StudiVZ crawler, but it features a bot that connects lonely hearts in the StudiVZ community automatically. A feature that while exploiting the lack of privacy in communities like StudiVZ or facebook, seemed useful enough for the operators of the platform to integrate it as a new (highly questionable) feature.
I always kind of thought of it that way, but it wasn’t until Wim Delvoye’s talk about his famous series of feces producing machines at the hybrid art panel of Ars Electronica that I fully understood why.
The personal model (“Personal Cloaka”), which is part of the Cyberarts Exhibition at Ars Electronica 2007 is a weakling compared to the flagship of the series: Super Cloaka daily diet consits of 300kg of food that get digested into 80kg of shit. A whole team is permanently busy feeding it and wiping it’s ass.
The digestion process of Cloaka machines is endotherm meaning that it consumes energy rather than producing it. Of course one could count inspiration and amusement as some kind of energy. It produces plenty of both and so did Wim Delvoye talking about it.
Cloaka machines contain computers that control digestion. Delvoye claims that he can occasionally sends SMS to his machines to give them diarrhea, let’s say on the museum director’s birthday.
Delvoye describes himself as an entrepreneur who brings together the team for designing and constructing the machines, he does not think of himself as an engineer. Consequently he is seeking for ways of saving tax. Presently he is trying to establish Cloaka as church in the US and he is setting up an offshore shareholder company on the Virgin Islands for that reason. In order to install Cloaka in the business world in that way he has lawyers join the team of bio-scientists and plumbers. Nevertheless, he says, the product (feces) ensures that the company is not getting to become successful in the commercial sphere and thus he stays an artist. Also the quality of the product seems mediocre. Even an uneducated person is capable of producing feces of superior quality than any of the Cloaka machines.