Ars Electronica Garden

Corona Improv Sessions
Many International Artists (INT)

Die Corona-Improv-Sitzungen begannen im globalen Lockdown. Jeden Sonntag kamen die Performer telematisch zusammen, um gemeinsam Musik und visuelle Werke an weit entfernten Orten zu produzieren.
Virtual tour through the exhibition “Future Food. What will we eat tomorrow?”

Visitors can virtually explore the special exhibition Future Food. What will we eat tomorrow? that is held at the Deutsche Hygiene-Museum Dresden from May 2020 to Feb 2021. The exhibition takes up on one of the most urgent questions of the 21st century: how can we create the future of food facing the global challenges?
​How do regional food systems work?

In times of multiple crises, the issue of food security is vividly debated. The panel discussion addresses opportunities and challenges of regional food production and supply with a focus on Dresden, Saxony.
WAHAWAEWAO
Gibson / Martelli (UK), Carol Brown (NZ) and Russell Scoones (NZ)

Movement and landscape in flux, five figures wander across the landscape of Central Otago. Between the rocks and crevices, they move. In this moving image installation, we explore our persistent longing for belonging in an age of virtual travel. Filmed in the raw physical landscapes of Central Otago and the Motion Capture Studio of CoLab AUT in Auckland, we map between radically different scapes.
The Crying Book with Heather Christle and Performance by Gary Motley
Heather Christle, Gary Motley

The Crying Book is a deeply personal tribute to the fascinating strangeness of tears and the unexpected resilience of joy. Why do we cry? How do we cry? Heather Christle has just lost a dear friend to suicide and now must reckon with her own depression and the birth of her first child. As she faces her grief and impending parenthood, she decides to research the act of crying: what it is and why people do it. She researches tear-collecting devices and explores the role white women’s tears play in racist violence. Motley performs Someday Sunday as Christle reads from her first book of nonfiction, The Crying Book.
University of Wolverhampton

With roots going back to 1827 the University of Wolverhampton offers a broad range of subjects at foundation, undergraduate and postgraduate level – many with professional accreditation. Over 23,000 students in the Midlands and beyond benefit from innovative and excellent teaching. The University was awarded a Teaching Excellence Framework Silver award, is commended by the Quality Assurance Agency and offer world-class research and excellent graduate employment rates.
FUTUREEVERYTHING

Established in Manchester in 1995, FutureEverything is an award-winning innovation lab and cultural organisation that has helped shape the emergence of digital culture in Europe. Through a curated programme of events, art commissions, critical conversations, collaborative projects and prototyping, FutureEverything pushes creative boundaries and stimulates new ways of thinking, across a diverse range of sectors, disciplines and audiences.
NEoN Digital Arts Festival

NEoN (North East of North) aims to advance the understanding and accessibility of digital and technology driven art forms and to encourage high quality within the production of this medium. NEoN has organised exhibitions, workshops, talks, conferences, live performances and public discussions and established itself as a platform to showcase national and international digital art forms. By bringing together emerging talent and well-established artists, we aim to influence and reshape the genre.
Serpentine Galleries

Championing new ideas in contemporary art since 1970, the Serpentine has presented pioneering exhibitions for half a century from a wide range of emerging practitioners to the most internationally recognised artists of our time. Across two sites only 5 minutes apart, in London’s Kensington Gardens, the Serpentine Galleries present a year-round, free programme of exhibitions, education, live events and technological innovation, in the park and beyond.
Art in Flux

Founded by the artists Maria Almena, Oliver Gingrich and Aphra Shemza, ART IN FLUX is a charitable organisation committed to furthering the development of the media arts community in the UK. FLUX is committed to the ever-changing needs of media artists working right NOW in the UK and will remain in a dynamic state of change in order to facilitate them.
Decoding New Technologies in Art and Design
Varvara Guljajeva (EE)

The conference discusses the role of technology in creative practices. We aim to underline what kinds of changes, ideas, trends, and methodologies technology has introduced into art and design. We would like to take a closer look at topics like AI and machine learning. What can AI offer to creative communities? And what kind of impact will these computationally expensive processes have on our environment, design and art?
Pandemic-Pandemonium! Curated by Kennii Ekundayo
Galeri ODUMIJE, Lagos (NG)

Pandemic-Pandemonium! is a two-part presentation centered on the collective response of Africans living in Africa vis-à-vis current prevalent issues that threaten humankind — racial discrimination, violence against women and the COVID-19 pandemic. Whilst one part makes a statement on the resilience of the human spirit in the face of the deadly coronavirus, the other focuses on the valorization of melanin-rich skin amidst the fatal hostility that accompanies it.
Keynote: Exploring Potentials and Risks of AI Technology from a Perspective of Creatives
Varvara Guljajeva (EE)

In the beginning of AI technology development in the late 50s, the field did not reach set goals because the machines were not smart and fast enough. Today, when it is spoken about the third wave of AI and quantum computing, the dream is very close to come true – reaching the human-level of intelligence. However, what kind of consequences could bring these technological achievements?
'Nature Disrupted' - Niio.art Video Art Program - Curated by Steven Sacks, bitforms gallery
Niio Art (IL), Tel Aviv

Nature Disrupted presents 4 video artworks by Claudia Hart and Marina Zurkow.
SPLEEN MACHINE
Alex Braga (IT)

SPLEEN MACHINE dokumentiert die jahrelangen Forschungen von Alex Braga auf dem Gebiet von A.I. und die Kreation eines neuen Musikinstruments namens A-MINT, das der Schlussstein der sogenannten ‘Augmented Music’ ist.
STEAM Popup Lab
JKU Linz School of Education (AT)

STEAM Popup Lab bietet eine virtuelle Reise, die uns erlaubt, die Bedeutung der Muster um uns herum zu verstehen. Muster finden sich überall: in Fraktalen in der Natur, in den Blutgefäßen im menschlichen Körper genauso wie in den oszillierenden Signalen, die von den Sensoren eines Telefons erzeugt werden. Sie können Roboter steuern, Origami-Muster falten, das Signal einer Spielplatzschaukel messen, an einer Live-Chemielaborsitzung teilnehmen und vieles mehr.
Hege Tapio and Norwegian BioArt Arena
NOBA - Norwegian Bioart Arena (NO)

Introduction of NOBA – Norwegian Bioart Arena with our team, facilities and our collaboration partners across Norway. Featuring Hege Tapio (NO), Annike Flo (NO), Nora Vaage (NO), Solveig Arnesen (NO), Hanan Benammar (FR/DZ), Simon Daniel Tegnander (NO), FAEN-Female Artistic Experiments Norway (NO), Eva Bakkeslett, Centre for Genomic Gastronomy (NO/US) ,The Dinghy AiR (NO) , Steven Barstow(NO) , Marita Isobel Solberg and Trond Ansten (NO), Elind Rui Blix (NO) , NIBIO- The Norwegian Institute of Bioeconomy Research (NO)
NOBA- Norwegian BioArt Arena
NOBA - Norwegian Bioart Arena (NO)

Introduction of NOBA – Norwegian Bioart Arena with our team, facilities and our collaboration partners across Norway.
Human Oil – the last oil
Hege Tapio

Watch our premiere of Humanoil, a recorded performance by artist Hege Tapio, followed by the introduction of NOBA – Norwegian Bioart Arena. NOBA is the hub for the expanded field of bioart in Norway, and exists to bridge the gap between artists and scientists working on ecology, biology, technology, activism and art.
Bias, for bass clarinet and Interactive Music System
Artemi-Maria Gioti (GR), Szilárd Benes (HU)

Ein neuronales Netz, das darauf trainiert ist, meine eigenen ästhetischen Urteile zu simulieren, ist verantwortlich für die Entscheidungen des Computers während seiner Interaktion mit dem Musiker: d.h., ob es die von ihm gespielten Klänge "spiegelt", neues Klangmaterial vorschlägt oder einfach nur schweigt.