So, es ist so. Ja, es ist so. Hey, da sind wir schon wieder. Jetzt habe ich meinen anderen Gast, Gabriele. Thank you so much. Deutsch? Englisch? Maybe. Yes, yeah. Then speak in English. Thank you so much for being here. You can have your microphone. Thank you for having me here. Yeah, thank you so much. So tell me a little bit about yourself, tell me a little bit what are you doing here in AS Electronica, what's your installation, dance, performance, what are you doing? Who are you? So this and last year I'm connected to the Campus Exhibition because I was curating the Sound Campus together with Andrea Bladud and yeah we are una team de dos pero no podía estar aquí hoy. Así que, así fue como fuimos aquí los últimos tres días, hoy ya es el fin. Fue una experiencia de hacer el programa y colaborar con la exposición de campus para elegir a estos artistas. Voy a preguntar si quieres beber algo. ¿Puedo darte algo para beber? these artists. So I'm going to ask if you want to drink something. Can I give you something to drink? Yes, why not? I'm going to be a kutekaskeberin. You know we have a very cool bar. And I'm giving to see if I can. Yeah. Yes. Yes. Because it stays all the time. Thank you very much. Muito obrigada. De nada. Então, Gabriela, como é que aconteceu que você começou com o Sound Campus? E o que é o Sound Campus started maybe five editions ago. It was started by Enrique Tomas, who was a professor, maybe still is, no, I don't know, in interface cultures. And he's a musician, sound artist. Together with Julia Del Rio,io actually they were organizing the first edition and they they had a new concept for making bringing club proposals to blins and it was a very fresh i remember lineup and a from them. It had many shapes because later there was the COVID year and they had to improvise to a virtual edition. But yeah, Sound Campus was always like kind of off from the Ars Electronica program, like a fresh approach from the campus exhibition. And later the curators were changing, so the next year it was organized by Stefan Tiffengraber and Fadi Doeringer. So yeah, and the next year we were invited by Manuela Navó as well as yeah I will yeah she was inviting me and then yeah with Andrea we made the team and then you made this year and how do you select so people send you stuff and then you say okay you are going to be or you can propose like this you can just come is how is it how does it function exactly it was like we had the freedom to decide how to do it. So this was an interesting question for us because we went for the open call direction. And it was more in a way to try to include proposals that maybe we were escaping and to be more horizontal. Also it was addressed for students because Sound Campus is meant for that, like an in-between different audience. Yeah, and me and Andrea are sound artists ourselves. So this is how we are connected to the topic as well and we are interested in experimental approaches. So for us also it was important to be open like to different like it things that were in the threshold of styles no like not to be just in a niche of experimental maybe more some styles that you know and and maybe it's twisted or kind of to make it accessible, because a very nice part of Sound Campus is that it happens in this pavilion. So it's like a public space, and there's people passing by, and different audiences as well, who are connected and not to the university. And it's also kind of the pre-opening of Ars Electronica as the campus is so there's also a lot of people connected to ours but yeah like from different sites they come so this is nice that you can have these intersections very cool and how many different countries and how many different people did you have participating this year at Sound Campus? How many of you were? How many acts did you have here? We had like five or six live acts per day and a DJ set. That was the main structure. But we also had a talk that was a discussion an audio walk in the mornings that was developed by students of the time based media department and one session of sample as that that maybe people in door to file knows yeah so we had this format in collaboration with some campus which was also an attempt to open the Like the reach like to reach other public for example as that And this was very nice. It was a session that also happened here and it was presented as a performance and Then it was like a sample is that it is that the person listened to the music and they sample it and present also What they made Yeah, present also what they made yeah although this year we made it a bit more theatrical because lucas was or elliot was making a performance out of these tracks so everything took the shape of a single composition and was a very nice listening experience like without naming who did yeah yeah yeah yeah yeah yeah it's that that i like in a sample is that because you just name it you put the track and then you have a lot of people making like different transforming and it's so cool like you're listening and say oh my god this is this how did you how did you come to this and how did it it's really cool that's why I was asking how did it function like this year how was it an experiment for an experiment you know like transforming from the transformation so that's true also this year was very interesting because we asked for samples of the artists who perform in some campus to give the samples for the sample as that session so it became a remix of the artists who perform in Sound Campus to give the samples for the sample as that session so it became a remix of the festival kind of okay and it was nice to listen like for example pieces of the audio walk in the sample as that presentation so it's like echoing yeah you can see that it's also now online so if somebody is interested maybe we can see that and some day soon yes and then we're going to to listen also to that if you are interested in it and in this context do you have something to show tell um something that's important for you that you want to say that you want to give public to next year if somebody wants to be a part of it how yeah to participate how does this person have to how can this person reach you yeah well we have an open like a public Instagram channel for some campus where so it's the Instagram is some campus yes sound campus yeah you can definitely reach us there we also have an email from Constantine but also we are not sure which format will it take next year it could be that we go again into the curatorial direction yeah but let's see it's a surprise yes let's be surprised thank you so much for coming thank you and the the team also there's TV was all the time here yes yeah there's really cool that always making making live streams and doing all the time being present as a big up to the after foul and in these moments I just say Cheers let's have a nice electronic festival, Oz electronic festival. And I take to Radical Corner, the mushroom corner. Thank you. Dramatisk musikk Ich sage es noch ungern, aber ich glaube, der Mr. Kombucha hat ziemlich arge Selbstmordgedanken und würde gern getrunken werden. Empfindest du das auch so? Es ist ganz schön bedrohlich teilweise auch, wie er denkt. Da macht man wirklich Sorgen. Irgendwas stimmt nicht. Naja, wir sind jetzt am ende von unserer sendung das letzte mal dass wir da jetzt live im mushroom universe unterwegs sind die über schwamm mal und von jeder draußen wir bedanken uns zum schluss nur ganz großes schaut Hannes Buchwieser am Synthesizer. Shout out to Mr. Bakanbucha. Und Miss Oyster hat sich für heute schon verabschiedet. So, das Mushroom Universe schließt für heute Öffnungszeiten Montag bis Freitag von 10 bis 20 Uhr. Am Ende des Ars Electronica Festival gibt's Schwammerl. Dann tschüss baba, auf Wiederschauun! We'll be a revolution so come on, shoot louder! Well, the difference is not an option! So, I want to introduce in that space the next song and I need your help. I do my microphone here. What? Somebody help me. Somebody help me. Thank you. Only one person. I think. Somebody help me. Okay. one person. I think, somebody help? Okay. Okay, so. The next song is the Mushroom dance. Mushroom dance or clam dance or El Valle de la Meja. So I need your help with the steps. The first step is Remember, the dance is the revolution. The dance is the movement for the body of the universe and for you and us. So, That is good. That is good. ¡Uva! ¡Uva! ¿Esto es bueno? ¿Esto es bueno? Ok, el siguiente paso es dos piernas derecha izquierda izquierda izquierda izquierda izquierda... Ah, no, derecha. Aprieta. Relaja. Sorry, because my mind at that moment is in a lot of spaces. Spanish and English. And in English. And that English. The other word, the other step is... One hand here. Ok, el otro paso es este. Una mano aquí, una mano aquí, otra mano allá, otra mano así. Y este es un nuevo paso. Menea, menea, menea, menea, meneala. Un nuevo paso que se dice. Una manita aquí. One hand here. Otra manita allá. Otra manita there. Y menea, menea, menea, menea, menea. Okay? And, of course, the step for the name for that song. The first step in Spanish. Baila la almeja. Mueve la almeja. Baila la almeja, mueve la almeja. Baila la almeja, mueve la almeja. Do the clam dance, baby, do the clam dance. Do the clam dance, baby, do the clam dance. Left, right, hold it, go. Shake it up, shake it up. Left, right, hold it, go. Shake it up, shake it up. Left, right, hold it, go. Shake it up, shake it up. Okay? We got it? So, so? Come on. Lower, close your arms. I see you. I see you. So... Do it! Okay. Get the first one. Oh, hey man. Miss Lady. Woo! Woo! Did you get to the first one? Yeah, yeah. What did you get? Oh, there's a ring? Yeah, yeah. Oh, okay. Oh, okay. Oh, okay. Vielen Dank. Дякую! ¡Oma de Rol! ¡Venga! Yo no me quedo aquí a andar. Yo ya lo he probado. Y el tesoro he comprado. Por eso hoy te invito a que bailes conmigo. Do the glam dance, baby. Do the glam dance. Do the glam dance, baby. Do the glam dance. Let's ride. Oh, let's go. Shake it out. Shake it out. Let's ride. Oh, let's go. check it out, check it outDo the clam dance, baby, do the clam danceLet's ride on, let's go, check it out, check it outLet's ride on, let's go, check it outIt's ba-ba-ba-ba-ba-baOh my GodNext time, it's the music ¡Y por tu voluntad! ¡Oh, Dios mío! ¡Más vida y sin duda! Las bailanas casadas, también las divorciadas, solteras a la cancha, madres recuperadas. ¡Suscríbete al canal! Baby, do the glam dance Left, right, hold and go Shake it up, shake it up Left, right, hold and go Move on Do the glam dance, baby Do the glam dance Do the glam dance, baby Left, right, hold and go Shake it up, shake it up Left, right, hold and go On, on Booyah Okay That's right. Moving on. Oh, oh. Okay, attention at your hands. Una manita allá Y me leo, me leo, me leo, me leo, me leo La Una manita aquí, sí, sí Una manita allá, ajá Y me leo, me leo, me leo, me leo, me leo La Una manita aquí, sí, sí Una manita allá, ajá Y me leo, me leo, me leo, me leo, me leo La Come on Do the clam dance, baby Do the clam dance Do the clam dance, baby Do the glam dance, hey, do the glam dance. Do the glam dance, hey, do the glam dance. Hey, ich trau's auch... Herzlich willkommen jetzt vom Hauptplatz. Mega Performance vom 52. Die Miss 6 spielt da vor der Fotzeninstallation. Heißt das so? Die Installation heißt lauter laute Fotzen und ist von Rebecca Hochreiter in Kooperation mit Leonie Ries gemacht und es geht eben darum sozusagen über den Sound die Fotzen zu bespielen, die reagieren am Bass und für das haben wir eben nicht nur die geniale Miss X aus Spanien, originally from Kolumbien, sondern auch zuvor hatten wir Bana, die ist Social Designer und DJ from Palestine, die in Wien lebt. Man merkt, wir sind schon voll in die Ars, eintrainiert mit dem Denglish irgendwie. Und jetzt im Anschluss erwartet uns noch Tonika Hunter, ein großartiger DJ, der auch in Wien lebt und glaube ich von London kommt. Saugeil, wir haben schon mega abgedampft, es war so leibend. Ich habe gehört, ihr habt noch viel mehr da bei 52. Es gibt auch noch eine Ausstellung in der WHA-Galerie. Genau, wir haben gleich zwei Ausstellungen laufen. In der WHA-Galerie hat es einen oberösterreichweiten Wettbewerb gegeben, wo quasi sechs Positionen gewonnen haben. Es sind sechs unterschiedliche KünstlerInnen zum Thema Entangled Homes, was man sozusagen auch in weiterer Folge, jetzt wenn man es ins Deutsche übersetzt, wo es auch um den Heimatbegriff geht. Was bedeutet der Begriff überhaupt? Was ist Identitätspolitik? Und wie geht man damit um? Und im Salon 52 gibt es ein Immersive Video Game von der Künstlerin Io Bissek. von der Künstlerin IU Bissek. Ihr Basis ist in Paris. Dieses Videogame setzt sich auch mit Identitätspolitik, mit Dekolonialisation und auch im Sinne mit dem Begriff Heimat und Zugehörigkeit auseinander. Es ist ein Spiel, das man spielen kann. Die Künstlerin selbst ist auch noch in sehr coole Kollektive verortet, unter anderem in matriarchi.net, wenn ich mich jetzt nicht verrede, es ist schon spät. Also in allen Bereichen von dem, was wir machen, geht es auch sehr viel um kollektive Zusammenarbeit, Aktivismus und Vernetzung. Sau geil, Walla! Wie lange können wir uns das noch anschauen? Die Ausstellung von IOBISSEC by 52 in der Domgasse 14 ist im Rahmen von die ASIS bis Sonntag und in der WHA-Galerie hat man nächste Woche auch noch die Möglichkeit, die Arbeiten zu sehen. Super, Heiman! Danke dafür, dass ihr dieses Programm gemacht habt. Wir werden da heute auf jeden Fall noch weiterdancen. Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da- Danke, dass du kurz Zeit genommen hast. Und ich sage Danke an DorfTV und auch, dass ihr den super Vortrag, den wir morgen auf der Kunstuni noch mit zwei Künstlerinnen haben, auch übertragen werdet. Und immer Danke für die großartige Zusammenarbeit. Danke, danke! Beim Tanzen bin ich voll dabei. Danke! Ciao, viel Spaß! Tschüss, wir sind raus, wir sehen uns wieder in der Zentrale. Da bin ich. Willkommen in den Grandes Finale. Wir haben jetzt einen super tollen Radikal Broadcast für drei Stunden gemacht. Super fiete Leute, extrem interessante Artists. Es war ein super tollen Tag. Es ist vorbeigegangen wie ein Fluch. Wie sagst du das? dahinter sitzen und sich die ganze Zeit bemühen, dass wir das jetzt heute live und alle Artists, die heute bei uns waren und die anderen, die sie besucht haben, es war großartig. Noch einmal großes Dankeschön. Thanks for watching!