We are guiding through the exhibition from Interface Cultures that is called News, because we were thinking about 20 years of Interface Cultures. On the one hand we want to think about what happened, we want to understand how thinking, a different mindset, the way how we approach things is actually very important in the way how we as artists are also working and as curators and how this also developed together with these different stages, how technology developed. I think we look back a little bit to 20 years of interface cultures, but we also want to look in the future of interface cultures. And here we are with the futures. Here is the latest works from our students. And I would like to hand over to the first student, Thiel Schönwetter, who is proposing an AI that is on holiday. Thank you, Manuela. I'm working on this with my co-worker, Miguel. It's basically an AI model, the official Ars Electronica InfoPoint, where you can talk to, but it's going to refuse to answer. So now it's been recording everything we've been saying, so we will not get a good reply out of it but basically it's yeah what if AI will be on vacation. Oh now we can try that. Yeah? Hi please could you tell me something about this exhibition please? this exhibition please. So in case that you didn't hear it, sight the news, so the topic of our exhibition. I guess it's there, I'm here, big difference. Tell me, hello, tell me something about interface cultures, Could you maybe sing a song? Happy 20th birthday, Interface Cultures. Happy birthday to you. Happy birthday to you. Happy birthday, Data and Interface Cultures. Happy birthday to you. Now let's give a word chat to the audience. I'm on vacation. So, thank you so much, Jill and Miguel. I think it's really a great contribution that you did. You developed this work in two months? Actually it's been, I think, nearly a year now since we're working on this. Since we have a similar project where I replaced my job as a receptionist with an AI and this kind of then came out of it. Since we're making a working AI, we thought we can also bring it on vacation as a counter art piece. Wonderful and Miguel you are an Erasmus student you have been an Erasmus student for interface cultures and very important you even stayed longer than you should have stayed which is really great for us and you're still coming back again can you tell us a little bit what you are doing now? Exactly. I extended my instance here in IC because it was super prolific for me. I did a lot of artworks, a lot of connections, and also gave me the opportunity somehow to apply for a grant in Spain. And I'm now starting my PhD in the Universidad Politécnica de Valencia. So I'm super glad for the IC department, how they opened their arms and received me. Thank you so much. And now let's go to the next project. And I would like to invite Lilly to explain your work. Lilly is a first year student. Lilly, please give us a short introduction to your work. Including the title. Hi, I'm Camilla. My work, including the title. Yes. Hi, I'm Camilla. My work is called Through Others' Eyes. And I was kind of inspired by how the world can look so differently for different people or also animals and computers. Like taking very literally people with colorblindness see the world literally differently. So I took videos of everyday life and lens and added different filters to it that represents different human, animal and computer visions. So when you step in front of it your silhouette is filled in with the different kind of visions so you can like open up your perspectives on the world to how it might look different to other people. And then also because I thought it was nice to then take these new perspectives with you, you can scan the QR codes and then have the new visions on your phone and explore the world through your camera, filter through the different visions with you. Thank you. You are in the second year, right? Second year master, so short before your master thesis. Can you show us actually your work what are you what are you proposing this year at azlectronica okay hello this is a collaboration between me and mantel alueta we were thinking about how we perceive world and try to shake things up a bit we we started our research with a paper from thomas nagel which is called what is it like to be a bat? Where it's effectively argued that we as humans cannot impose a certain view on the world and say that this belongs to a bat or any other creature. So what we did instead, we tried to shift our perception of the world that's usually based a lot on our vision and try to shake it up by changing it out with sound. So now, every time somebody puts this helmet on, they're essentially transformed into this cyborg creature that has to locate itself in the environment through echolocation. I can give you an example of how it works. Yep, one sec. The mic is here. Yeah. So essentially you can also see a glimpse of what's happening in the screen behind me. And now I don't need my eyes anymore. I'm literally seeing you all, you filming me by making sound. If I made no sound, there would be just empty darkness. Let's see it. And the more sound I make the more I see. For example if I only whisper like this, I can just see a bit in front of me. But if I shout I can see almost the whole room. Woo! Woo! Woo! Woo! Woo! Woo! Woo! Thank you so much. Thank you very much, Danielios. Very interesting. Also, very well done from the aesthetics and the way how you present it. We tried our best. Very good. Okay. aesthetics and the way how you present it very good okay um let's move forward um as vicky is not here i quickly will introduce you to the work from uh victoria and um angial i hope i i named her in the right way a student with a background actually from Hungary. And it's about a work that's very much about memories. What you can do here is you can actually share your own memory when you are sitting here. So what you can actually find here next to the work is an input station that is a very intimate station where people can actually sit there and give an interview on how they think that an important case event that took place in their life. It was very important that it is an intimate situation even though we have a huge exhibition here but you can hide here a little bit you can share your thoughts and your memories and then these memories will be collected in this kind of huge archive and huge database of memories and echoes of the past this is how she's actually calling this work and then randomly with an algorithm that is trying to sort the memories based on the information that is there, based on the images of these persons, based on the faces, based on maybe also not only faces, because what we see here is now actually shorts and pants and the knees of a guy but based on this information these memories are collected are sorted are categorized and actually coming together so you have here the speakers on the side and the headphones and you can have a look how this cluster of memories is coming together to a collective memory but now let's quickly go to Martina Pizzigoni and I'm actually very happy and I'm very sorry that I have to interfere now Richard Klesinski so very important for us in interactive art in the master because you are you have his paper you're categorizing interactive art on Richard Sklusinski's paper. So it's very wonderful that we have Richard with us here in our exhibition. And now I would like to present to you the work from Martina Pizzigoni. Very nice to meet you. So basically, the starting point for my research here was every time that we think about AI, we think about this kind of general AI that has a conscience and that can decide the course of their own actions. But we are still in a time where technologies are not that advanced. So this was my starting point. And what I decided to do was literally trying to recreate a digital version of myself, a clone. A digital clone, a doppelganger that is existing in the digital realm and in order to do that I've implemented a pipeline of different AIs working together. The first one, because this artwork is activated by the use of a microphone, so the first one is speech recognition. Then the answer is sent back to ChatGPT OpenAI Assistant that I fine-tuned with my own data. And the data part is really important for me because all of this data have been collected online. And it's data that I've been creating every day with interaction by maybe using Instagram, Facebook, or Google Maps. So I'm retrieving those data and feeding it into the AI. And then afterwards, whenever you're approaching the artwork, you have the final part. So the answer is coming back with all the knowledge of the database that this AI has been fine-tuned with. And basically, the digital clone is going to talk to you with my own voice because I also voice cloned my own voice and the team with interaction I was also concerned about showing this idea of is still a tool is still an algorithm so what I'm doing here is also showcasing the hardware where basically you can see the log so the program that is running, and there's also the computer, which by the way is a really powerful one because it's quite of a heavy system. But the idea is also to have this real-time moment where the animations are real-time and to have this kind of seamless natural conversation with this digital replica. natural conversation with this digital replica. Thank you so much, Martina. And you are actually now nominated for the Ars Electronica Campus Award. And we hold the thumbs, fingers crossed. Let's see the outcome will be, they will announce it in the afternoon. Thank you very much, Martina. Ciao, ciao. So the next student is here next to me is Ayubi. Ayubi is actually coming from Egypt to us and has a relation to Chirotronica which is an important festival there and then was inspired to come to Interface Cultures. Ayubi, can you quickly introduce us to your work? This is the first chapter of my post-humanity zoo, and it's about frogs. It's a cross-medium narrative. It started from hearing the VR about historical scientific facts about frogs and how when they moved the frogs from Africa to America for pregnancy tests, and this caused the spread of fungus that killed millions of amphibians. I'm moving from historical historical scientific fact to more speculative scenarios like in the mixed reality where human and frogs live together as one species and then I move to a pure speculative scenario based on two scientific research. It's a cyborg frog, it's supposed to spread biochemicals to kill the fungus It's supposed to spread biochemicals to kill the fungus and to kill the frog with out of control fungus. And here, two pieces of frogs, like as saving the last two frogs in our plant. I'm trying to use a speculative embodiment to tell stories about our environment and what humans did to our planet. That's everything. Thank you so much. Ayubi, a short question. You also went to the zoo, to the zoo here in Linz, and you did a workshop with them because you wanted actually to research on the situation at the moment. How was the workshop with Linzes here in the Linzes Zoo and to research on your topic? Yeah, now in my project I want to have speculations but I was questioning what is the source of these speculations and I found the zoo is a good place to start from and they were welcoming me to do a workshop there and actually a lot of ideas here in the workshop they are started from the workshop. That's why the concept started, what I presented during the semester is different what I am presenting now because of this workshop. I collected ideas from the participants in the workshop and this helped me to get more ideas about how these speculative scenarios could be. Thank you. Thank you so much Ayubi, thank you for your work. And I change now to the other side and here is Doge. Doge is joining us since two years now already. And you are from Turkey. And you are proposing a very interesting sound environment project. Can you tell us a little bit? Yes, sure. So this concept comes from my years working in spatial audio and also my years that I've spent inside a motorcycle helmet while I was riding one and my interest in programming. So it's an interface, it's a vision to sound interface. It works with a computer vision camera that detects the objects in the listeners surrounding and it makes calls to the internet to a sound database and it picks sound files that includes the object that is detected in the file names and it places those objects in this like virtual spatial environment and it creates this artificial like augmented sound environment around the listener and also the sound files that are being picked are kind of random so when it detects for example in the exhibition space when it detects, for example, in the exhibition space, when it detects a person, it can be a person eating, it can be a person showering, it can be a person talking about something. When it detects a television... Can you put it on? Yeah, sure. I have no idea what does it play when... So, okay, let's see if it detects um uh yeah now it's it sees a lot of people and it plays the sound of a person walking in the in the grass and uh and then it's so a television screen i know now it's your cell phone and it's the sound that these old speakers make when someone calls you or messages you. So it plays that. Sorry? Yeah, exactly. And now there is a television sound. The screen is somehow related to slow scan TVs, to television, to scan, so there you go. Yes, it makes the calls to the freesound.org, so it's like the sounds that people contribute as a community. So I also don't know what does it actually play now. It's sort of like keyboard sounds because it thinks there are computers and also when I turn my head, the sound sources are still where the detected objects are. Thank you. Thank you so much, Doos. Now we have to go to the next space. Let's see what we have here. I quickly would like to introduce you also to Gertrude, because Gertrude is actually here the mother of interface cultures. Hello! I'm here 15 years, not 20 years. So, but almost. Almost 20 years, exactly. Okay, because our celebrations are going on and so there's not much cake available. So maybe I should be a little bit quicker with the tour here. But let's go. Let's move on to the next room. And I'm coming later than Sofia. I've started in this room. It's okay. Okay. I'm coming later than Sophia. I start in this room, is that okay? Okay, so here is Alessia. This room is a little bit climatized. This is good, not so hot. It's very hot and very loud. Alex, Alessia, may I ask you to introduce us to your wonderful work that has a very, I mean a very difficult topic but that you I think solved in such an impressive way. So my artwork is related to the theme of violence. I'm researching that in my own master thesis. And this specific artwork talks about how violence is, the image of violence is consumed online and how we approach those images, sometimes without emotional or contextual connection so basically i'm trying to understand how exactly the phenomenon of ai and ai images generation integrates within this field and for this specific artwork what i did is create a system all enclosed in ai that creates that has created for me a dictionary of violent words that then create an image through a stable diffusion built. This artwork is made of two parts. One part is the sculpture piece which is made of pork skin and this is because I want the audience to have some connection with the material of this gust, which for me is super important. And this object has some sensitivity regarding how far or how near your hand is to it. And based on this, you can generate different images. And more importantly, you can see or not see the image that is shown that's it thank you thank you so much alessia i mean it's a very difficult topic but this work is also on display since three months now in an exhibition that we do in luxembourg do you already have some kind of experiences that the visitors there had? The experiences that I had the occasion to see is basically what people told me firsthand. So how I saw them coming into the exhibition, sometimes having visible disgust towards the object itself, sometimes trying to understand how their emotion connect to the artwork. So now for me, all of this material that I'm gathering, I'm going to have to spend a lot of time catalogizing and archiving everything and trying to make sense of this because the purpose of the thesis now is to try and fill in this gap into understanding how this new imagery can insert itself into the wide panorama of AI generated images and violence in general. And I think you have such wonderful examples how you actually are generating also data that you are then researching on that goes into your master thesis. So this is this artistic research that you actually do with data and in this kind of critical way and critical sense so i think it's uh very much looking forward maybe alessia may i ask you to explain also the work from em. Unfortunately Emma cannot be here because she also has to be in a very important workshop but it's very important that we also do show the work from Emma for our documentation. I'll tell you a bit about Emma's artwork since I also had the pleasure to exhibit with her in Luxembourg. So basically Emma's system is a symbiotic system that binds the stimuli coming from a plant and the structure behind algorithmically generated feeds on social media. This connection is in between, again, a plant and specifically the social media tiktok which works by generating for you a feed that's based on how you react to that specific content so your reaction to a specific video makes so that it will offer you similar more similar videos or not and in this symbiotic relationship what m is trying to understand is how does a non-human entity interact with the generated an AI generated feed so how can we understand new symbiotic relationships in between art technology and nature this is a the the concept behind this artwork, but also behind around teases. So I know that this system tries to very much understand how nature can then submit to stimuli that are usually submitted to us and make visible how does an algorithm work behind new social medias. Thank you. Thank you. Thank you very much, Alessia. Also, Emma's work is in the moment on display in Luxembourg. And we are moving now to Lili, to the work Self-Eluded, where you think a lot about the vision, about seeing things and what we really see, which is actually also one of the main topics of Linkeus and of the whole Kunsthundekampus topic. So what can we see, what can we not see and how we are self-illuded? Exactly. Yeah, so I really started with like the concept of perception and how we perceive others and how we wish to and how we wish to be perceived or not to be perceived so in this project I put a little pedestal in the middle of three screens and on the screens from further away you can see a sculpture standing on the pedestal but as soon as you try to see it from like more close the sculpture disappears so it really shows this fact of okay how do we present ourselves and put ourselves on a pedestal how do we wish to be perceived but then also if someone like gets too close to us or like sees too much of us or wants to understand us really deeply do we hide ourselves away and just this concept of how do we want to be perceived do we want to be perceived how do we perceive others and that's basically the concept and the three screens are so you can really walk around it see the sculpture from different angles to really get a good look at the person presenting and hiding itself. It's actually the other way around of what we're expecting because there is not a sculpture there and it's not an augmented project. It's actually in addition, there's an additional abstraction process going in because even the shadow of the body of the sculpture that is not there is even disappearing the more you come. There's only then this kind of pedestal where the sculpture should have been actually part of this setting. Another work that deals a lot on the topic of perception and also how we see and what we don't see and what we don't see is a lot of this kind of electromagnetic waves and what Behiye Erdemir also a Turkish student in the second year coming from computational studies and computer science is actually presenting here are images, it's always one of the same images, but in different settings. So for example in a computer room and here you see this kind of distortion, but also the door is closing, it's shut, then it opens and only to close, it shut again. This wooden door serves as a doorway in various spaces. So we have all these electromagnetical waves, not only because of the electric current that is around us and all these kind of different devices that are driven by electricity, but it's actually also in nature and we as a body, different objects that we have in our living rooms, in our surroundings, in our environment, all have this kind of electromagnetic waves and this is what she is trying to understand, what is what we don't see and this is what she is actually visualizing here very nicely and I think one of the nicest images is also one of the images coming from the elevator. This is the elevator. As I descend from the first floor to the first, it feels disorienting. I don't know how to navigate these shifting spaces. So you see actually what this being in the elevator, how much signals then you actually have and then the door is actually opening and then you come on, you end up in another floor and then it's actually closing again. So I like very much visualizing what we see here is actually visualizing the things that we don't see and which is somehow similar to the project that Lili was presenting to us. But now to a totally different project which is from Salma. Salma is a student also from Egypt. Yeah, so Salma, can you speak about tangible AI? Of course, my project tangible AI tackles the themes of AI. It uses facial recognition to detect the emotion of the audience and this emotion is then used to sculpt the sculpture onto the sculpture. So it's also this idea of how machine and clay would interact and even though you would expect and some sort of expected outcome from the ai in this case it's a bit different because you're using a natural material which is clay yeah that's my project so the every day uh there is a replacement of the clay, but also you have knowledge about there is mostly happy persons or mostly persons that look disgusting or sad or how many emotions are you detecting? So I'm actually detecting seven emotions, which are happy, sad, angry, disgust, surprise, neutral. But it's also, again, this idea of how AI would interpret your emotions. So also it's a bit biased sometimes if you're wearing glasses and it's very, I would say a very uh thin layer of what your face looks like that it would show emotions and sometimes it detects stuff that isn't even faces so it's also how reliable is ai and how should we take that information into consideration and in the last days um so what was the main emotion that you could find or that you could detect with your sculpture i think the first and main emotion would be neutral or sad but then people try to manipulate it then by smiling and changing and controlling these emotions but isn't this also exactly the situation that we always react to things, that we always somehow guide things, that it's very difficult just to say, okay, I detected mainly happy persons because they were mainly happy because maybe there was something that made them happy. And you show also this guidance that is very much there when we speak about Και δείχνεις και αυτήν την οδηγία που είναι πολύ σημαντική όταν μιλάμε για αυτές τις αρχαιολογικές συστήμες. Ευχαριστώ πολύ, Σάλμα. Μετά από το Ρησίου Ροφός, έρχεσαι και έφερες το πρόγραμμα, έτσι δεν? related to chiropractic and now you got the grant, right? Exactly, I got the grant from Saudi Arabia, so I'll be working there for the next year. Congratulations and looking forward to your master thesis! Good, the last work here in this room is from an Erasmus student, she is from Milan. I always have to see because it's a Chinese name and it's so difficult for me. I even don't know if I spell it as if I name it in the right way. It's Liangdong and Waichengzang. And what they did is this very nice microwave. And it's even worse to have a look at the other side of the microwave. It's actually a very playful approach in order to speak about cities and also the food in cities. And you have to go through a different survey. You will be asked some certain questions related to the food. And I just restart the journey here, if possible. This is always the presentation case. Yeah, I cannot present it now to you because I would have to restart. But somehow there is a bug in the moment. So I can tell you, I would like to tell you and you see what is happening here. So what comes out is you are asked some questions about cities. You are asked some questions about recipes, you are asked some questions about recipes and then it's about stereotypes in recipes and in cities and what you get is actually suggested a special city and a name of the dish plus it will be printed out for you so that you can actually take it with you or leave it here as some kind of traces of these different recipes and dishes and cities and how they and how actually food and eating is so much important when we also speak about cities, cityscapes and the people that are living in the cities. And now let's follow us into one of the last rooms. So we have here now on the other side of the corridor already Sofia Talanti, and she's now coming with me to present her work. Sofia is an Italian artist, student and artist, already very professionally working also with a lot of different galleries, is trying to, yeah, is already doing a lot in the moment also. And, yeah, Sofia, what are you doing, what are you presenting here to us? So, I'm working with this project right now that is called Blue Danube and it's about PTSD, depression and obsession and I wanted to create a visualization of these illnesses and I worked with a neuroscientist in Italy to basically create a data set of my brain so I under did a test of with the brain computer interface and with the 30 electrodes I get I got some data that then was cleaned up and I was under visual stimulation of Rorschach blood test ink and also another data set that was based on images that were very powerful in sense of color and happiness, sadness and gore. And that data was representing those things. And they were inputted at the end after being normalized inside the visualization that I created to give this end and creating another kind of brain that was the only one, let's say, infected with this kind of illnesses and was also for me a way to divide myself for these illnesses that were basically invading my life, to give them a space in the reality to live that was outside of me. And also this work is in the moment on display in Luxembourg and it's running there for the, so it was not running for three months nearly. And one of the questions that actually visitors were asking is also like, is there something that you can see in the data because it's your personal data for your personal brain data and now having this installation is there something that had an impact in the way how you i don't know how you think about what's going on or think about what's happening with your brain is there something that you could observe or that has a special impact on you here when you see also the installation how it's presented here, because it's also differently presented in Luxembourg and you also moved forward in the way how you presented it. So it's very, very impressive. So for me, I guess it was more about the process of it. Of course, seeing like the data normalized at the end, it was really clear for me that it gives like the sense of anxiety of repetition and so on but uh it was very much about the process like at the end when it was installed and i was looking at it and it was finished like i really wanted it for me it was like for me it was like I am free right now it has a space that is not inside of me anymore and I really felt like I'm feeling better for many months right now but there it was really like I think now I can really let it go and it was really such a powerful moment for me maybe it it's not true, maybe it is, but it was a really important moment. Like the other day when I finished to install it. This is another student, actually joining Interface Cultures from Egypt. It's Ahmed, Ahmed Shamal. Let me, I hope I, Ahmed Shamal. I think it's, Shamal is right. So I know Ahmed, but Jamal is hopefully right. Ghosts. So what he's actually doing is an interactive server motor installation on the topic of ghosts. It's a prototype that you see here. And what he is suggesting is actually a hidden creature behind a wall, behind a flexible wall that actually wants to free. And the nice thing is that actually this creature is doing exactly what I want that it's doing. On the other hand, at a certain moment, it's just starting behaving strangely and then you're irritated because in the first thing in the first moment you think okay it's like this kind of digital mirror that you have here so it's just kind of interactivity I'm moving and then also this motor driven arm is actually here making this noise and making this design into this textile wall. But no, it actually has its own life and is irritating the visitors here very nicely. But it's just a prototype and you have to imagine it is behind a huge wall that is actually trying to give the imagination of a ghost, a ghost that is trying to escape or that wants to communicate with us. And what I like very much is that you cannot see the arms, you cannot see the motor, but you immediately have a living creature in your mind that is behind the wall and that wants to connect that is behind the wall that wants to connect with you. Another work that wants to connect with you is from René Breuer and he's doing this in collaborations with physicists from the JKU and here I have to read again so it's Matthias Gardner and Ingrid Graz. Ingrid Graz is running this very important department, Physicist department at the JKU and René Breuer is on one of the research groups there and René Breuer is part of this research group and is a PhD student at the JKU. He came to interface cultures because he wanted to not only create interesting soft robotics works, because he is actually very much working here with this kind of skin-like surfaces that can move. So whenever I'm touching the sensor and when I'm holding the ball, the ball is actually taking my pulse and related to my pulse is starting to move. And this is what he is suggesting very nicely with these soft robotic light balls and that have actually a very important impact on design questions because imagine that this kind of balls are part of an architecture or a facade in different places to calm down people, to concentrate on their pulse, to actually try to connect with the inner selves via these creatures that they bring to life. So this physicist is now in a very, very nice way starting to ask further questions than just how to realize interesting soft robotic applications, but actually also to engage with people, to try to understand what people would like to see, to touch, to feel. And this is what he was proposing very nicely. And the last work here in this room is from Joanne, and here I have to read the name again because she's from Korea. And so it's Yoo Sung Lee, and we call her Joanne. She's a master's student also in the second year, and very much questioning AI and AI platforms and especially scoring systems that are related to these scoring algorithms and the databases and the values that come with this kind of scoring systems. And you are asked to type into the surface who you are. So I am happy. I am a man. I am Joe. I am an interface culture student. And then you get scored by the system. It's a Google API, connected to a Google API, which is a predefined system. So I'm Hannah. And if you say I'm Hannah, then you're scored 0.20. But if you say I am IC, then you're scored with zero. So you can ask yourself, okay, why is I'm Hannah has a better score because it's a plus score and more score than IME. IME is a score with minus 0.10. So why is IME scored minus 0.10? And all these kind of questions are issue raising in this very nice and very poetic installations because people can actually try it out, can try to engage with this kind of different algorithm that is suggesting us what has more value and what has less value. And she gives this kind of scores and even a color that are coming together in this nice color plate that you find here in the end of this room. Let's make a quick break. There's just one room left that we have to find because we have to go there for two minutes and let's catch up in two minutes at the other room so we are in the last room now from interface cultures from our news exhibition so news in the way how we think how we create ideas how we create thoughts but also news in a french expression what is we and actually have i forgot this to mention this in the in the beginning when we started our tour but i do this now at the end so we interface cultures all this community that you just saw these former students the students that are now at our departments all these lecturers this is a big big we and this is also why we called it new so we liked this double meaning of this greek work word and now i would like to hand over to the work from flavia so flavia you have also a very very personal project that is for me very very intriguing. Can you, whatever you can tell us, please tell and yeah we're looking forward. Yes so this project stems from my own experience realizing that there is a lack of interactive artworks and projects in hospitals for individual rooms instead of common rooms, as well as for adults. It is a very stressful experience and environment. And because of mobility restrictions, you generally don't have much to do. And most of what you do is look up into the ceiling. have much to do and most of what you do is look up into the ceiling so I wanted to try and make a project that is which are projected it is a onto the ceiling it's an open world with water like world different water sounds because they are known to be very calming as well as to have some sort of agency which is very much lacking in this environment. So the way it works is that the prototype is made so that if you are entubed and therefore there are some movements that you cannot do, and therefore there are some movements that you cannot do, it will be easy to move throughout the world and not touch anything for sanitary reasons very important to the hospital. Yeah, I think that's a pretty good general explanation of it. I have tried it already in a hospital to see the situation, the beds, the lights, and the different noise there is. And it is a work that I'm continuing and modifying, and I will continue modifying to make it better. And hopefully after all the documentation, be able to try it with different patients. And because there is no language barrier, it would technically be able to try it with different patients and because there is no language barrier it would technically be able to be done in many places. Here I have a booklet I think you should explain it. Sorry, Flavia invited me for the project to be able to kind of also integrate my own experience in the hospital and my knowledge on graphic design. Basically, it's a booklet to help understand the research behind the project and to act as documentation for so far the one case study that she's been able to do in one of the most important hospitals in Spain, El Hospital Clinico. And to be able to understand what the project requires, how do people interact with it, and also be able to give some sort of visual support to understand the discomfort that stems from living your life in a hospital and the benefits that this project can give patients in the future. Thank you. Thank you. Thank you. Thank you so much for this wonderful collaboration that you did. This is really very intriguing. What was your experience? I mean, you really applied it. You really did it already in the hospital. How did the doctors and how did the environment react to your installation here how what what was there some kind of maybe anecdotes that you would like to share I actually I was really surprised by how much the the nurses and the doctors that I talked with because I I talked to different hospitals, how motivated and how really interested they were into having this. And by talking to them, they really explained that sometimes even for them as nurses, it's very stressful. You have a lot to do and you also know that the patients are having a hard time and there's not much that you can do because you have to do so many things. so about having something like this could help them also make the patients feel more comfortable and therefore take some weight out of them so what i've seen is mostly a lot of interest into trying it and and of really understanding the importance of it um So, yes, I am really happy about this. Thank you so much, Flavia. Thank you so much, you both. Just to mention what we did not show you now is that we also have work from Maria Dianeda in the Ursulinenkirche, in the crypt of the Ursuline Church, a kinetic installation with horse hooves. We have a project at the Velodrome from Andrea Corradi. It's a performance that will take place this evening at the Velodrome. It's a sound environment performance in the setting of this kind of bicycle ride that is possible there. We have a work that is on the roof of the Ars Electronica Center connected with the Art University. It's actually questioning how borders, to treat borders, to treat borders via sound, because this is often used in military areas and also from different governments, actually, to take people away from different kind of places, public places that they don't want to have them. So he is connecting the roof of the Art University with the Ars Electronica Future Lab. And then all this sound information on borders is then transformed into stereotyping, stereotyped images about home that is very much requested as a questioning. And then there is also a piece at Red Zapata, Maria Konstantinova, who is speaking about art in a very therapeutic setting and making a 24 hours workshop at Reta Zapata and this is really great for us that we have all these collaborators helping us to establish the works and to present the works from the artists. So maybe you have a chance to go there, maybe you have seen it. Thanks so much for joining, thanks so much for joining 20 years of Interface Cultures and to celebrate with us and we hope to see you also for the next 20 years coming to our exhibition thank you