Since February 2024, I collected almost 4000 Videos of the political campaigns of my Youtube and Tiktok Feeds. The Live Stream shows what an Echo Chamber looks like, when you get only one side of the story presented. Explore the live stream of the 23h-Democrats Echo Chamber here: https://www.youtube.com/live/oE26iJ8t_QM On November 3 , I watched " How to Build a Truth Engine " (Thank you Mark Pfeiffer ) by Friedrich Moser  (Congratulations again to this great and so important work.) On November 4 , the article "Gefahr für die Demokratie" (Danger to democracy) went to the Newspaper (Thank you for the interview Philipp Stewart ). On November 5 , we will see the outcome of this meme-war like election campaign and its results. To sum it up: In July 2024, I stumbled upon the meme "You think you just fell out of a coconut tree?" - that supported the newly announced president candidate Kamala Harris. During that time I have already collected and figured out that Youtube Shorts predominantly offered me right-conservative content, favoring Donald Trump, Jordan Peterson, put Andrew Tate in a brighter light, and presented me Candace Owens when she got celebrated by "destroying" woke people. My Youtube subversively showed me more and more of that special kind of content. More, because I watched every single video that was presented, more "Bro" content. For some reason, Youtube does not consider me as a female, so no make-up tutorials for me. In the end I collected over 5500 Videos of my Youtube Shorts and Tiktok Feeds. Each video I was looking at was collected and saved or downloaded (when the system allowed it to). This stark contrast led me to explore the deeper mechanics behind our digital experiences, and I started saving and collecting all these short playlists. No matter where I travelled, this kind of content popped up almost every time I got on those feeds. When I tried to find out who was behind these channels, it was hardly a person - most of them seemed to be automated machines targeting me. Nothing I could do changed that phenomenon   No matter where I travelled, this kind of content popped up almost every time I got on those feeds. When I tried to find out who was behind these channels, it was hardly a person - most of them seemed to be automated machines targeting me.- I got trapped in Echo Chambers . Youtube Playlists: + 4.500 Videos (February - November 2024) But what or who is behind all that and why do I think it is very concerning, when misleading political content is subversively mixed in social media feeds? Did Someone Hack Society? Throughout history, technology has often been used as a powerful tool of influence, e.g. from the strategic control of radio, news and film by the Nazis  to the far-reaching impact of Gutenberg's printing press  in shaping public opinion with the Bible and the "Malleus Maleficarum". Today's recommender algorithms on platforms like TikTok and YouTube work in even more sophisticated ways, curating our content and creating echo chambers  using our previously harvested data . The result are digital content bubbles, reinforced by psychological theories such as Social Identity Theory , where we cluster around like-minded people, reinforcing our echo chambers. Cognitive dissonance theory  explains our discomfort with contrasting information, pushing us further into familiar digital territory. Social Comparison Theory suggests that we measure our worth by others, leading us to align with groups that validate our identities. This creates a bandwagon effect  where popular ideas quickly gain traction, feeding echo chambers. The Illusory Truth Effect  intensifies this, as repeated exposure to certain narratives makes them feel like common knowledge, influencing our beliefs and construct a new concept of reality even offline. Moreover, different platforms fuel particular political and social ecosystems. While my TikTok leans left, YouTube leans right, and Instagram and Facebook often present a sanitised reality. X (formally known as twitter) was merely looked from the Elon Musk perspective and in the end turned into a Squirrel Meme, very often accompanied with weapons. This difference subjects the western societies to an increasingly polarized discourse , which splits our understanding of the truth in different ways. Pushed and supported by the relentless drive of the technology behind the digital marketing machine, profit takes precedence over ethics, reducing us to data points and steering society towards unchecked consumerism and a vulnerable situation which is assumed to ruin democracy . Random Screenshots of the last days before the election. Starting from Elon Musk's account. In this overwhelming digital playground, the ability to separate fact from fiction requires critical thinking  and media literacy . Younger generations in particular are at risk of accepting curated realities as truth. The value of a wide range of diverse and trustworthy media is crucial to forming well-rounded opinions. Because radical constructivism  teaches us that our reality is shaped by our perceptions, which are heavily influenced by the content we consume. In our digital media age, this means that our understanding of the world is increasingly influenced by staged digital narratives , often without us being aware of it. In addition, the blurring lines between human- and machine-generated content challenge our beliefs about authenticity. Generative AI has radically revolutionized content creation, making it increasingly difficult to distinguish reality from fake. Does this highlights the need for systems such as blockchain, or a truth engine, to verify what is true in our digital engagements? How Real Is the Digital Reality? We've already entered a world where the lines between fact and fiction are blurred, not unlike Orwell's 1984 . The internet, once a playground for freedom of expression and information, now feels more like a battleground where truth is the sacrifice. Generative AI, algorithmic echo chambers and targeted misinformation campaigns are not just glitches in the system - they are strategic tools. If confusion is the goal, then the architects of this digital chaos have succeeded. Because we have reached a point where verifying the authenticity of what we see, hear and even believe has become almost impossible. The result? A deeply divided society, unsure of what to trust. So, what does this mean for us - and for the internet? In our desire for ultimate connectivity, have we finally killed the very thing that should unite us? If we can no longer distinguish between truth and fake, has the internet become obsolete, serving only as a vehicle for manipulation? The idea that we're living in a reality where emotionalizd falsehoods carry equal, if not greater, weight than facts feels like we're witnessing the slow, self-inflicted collapse of the internet. But there's a deeper concern: what comes next? If the internet as we know it collapses under the weight of its contradictions, what's left? Will it pave the way for a new system of control, one that thrives on division and misinformation? One thing seems certain: if we continue blindly down this path, we might reach a point where we can't undo the damage. Do we have the will to save the truth and democracy? s.myselle // Vienna, 04.11.2024 (Whoever will win the truth seems to be lost.) Links: https://encyclopedia.ushmm.org/content/en/article/nazi-propaganda   https://edu.gcfglobal.org/en/digital-media-literacy/what-is-an-echo-chamber/1/   https://www.history.com/news/printing-press-renaissance   https://foreignpolicy.com/2024/11/04/ai-technology-us-presidential-election-democracy-marietje-schaake-gary-marcus/   https://www.humansecurity.com/learn/topics/what-is-data-harvesting#:~:text=Data%20harvesting%20is%20the%20process,that%20information%20to%20draw%20inferences . https://www.sciencedirect.com/topics/psychology/social-identity-theory https://www.sciencedirect.com/topics/social-sciences/cognitive-dissonance-theory https://www.psychologytoday.com/intl/basics/social-comparison-theory https://www.psychologytoday.com/intl/blog/stronger-at-the-broken-places/201708/the-bandwagon-effect https://www.psychologytoday.com/intl/basics/illusory-truth-effect https://plato.stanford.edu/entries/critical-thinking/ https://www.researchgate.net/publication/326410889_Radical_Constructivism_Historical_Roots_and_Contemporary_Debate https://www.communicationtheory.org/agenda-setting-theory/ https://www.goodreads.com/book/show/61439040-1984 Method: From July 21 until October 30, 2024, I watched and saved every reel related to presidential election content. The reels were collected and saved from what TikTok offered me in the "For You" section. I got hooked on the "You think you just fell out of a coconut tree" meme that kept popping up in my feed. My findings showed that, out of 1,000 reels, only one wasn’t not in favor of Kamala Harris. This experiment demonstrates just how difficult it is to get an objective point of view—no matter which political side you’re on. Naturally, my feed turned into offering me more of the same of what the algorithm understood I liked and engaged with. Personally, I prefer pro-Harris content, but I was disturbed by what I learned about the Republicans and the 2025 plan. How much is true, and how much is taken out of context? s.myselle, 2024 Follow me: https://www.tiktok.com/@s.myselle PS: My dopamine-soaked brain is slowly recovering. The reel consumption was quite an experience in itself. Further links: Inside Trump’s Truth Social Conspiracy Theory Machine An analysis of Donald Trump’s Truth Social posts reveals the paranoid and unfounded content the former president creates and amplifies each day. https://www.nytimes.com/interactive/2024/10/29/us/politics/trump-truth-social-conspiracy-theories.html The Rise and Fall of the Mainstream Media https://youtu.be/-iwOTyv1gyY?si=Owsk2DJ-vxB57OMV

Castrati, a product of a practice in which pre-pubescent boys were subjected to a procedure involving milk baths and twisting their testicles to induce atrophy, were the undisputed vocal superstars of their era. In 18th-century opera, the absence of a castrato's sublime voice in the leading role of 'primo uomo' was a guarantee of commercial failure. In 1975, musicologist Angus Heriot described the voices of castrati as "c lear and piercing as that of a choirboy and much more powerful; they appear to sing an octave higher above the natural voice of a woman. Their voices have always something dry and harsh, quite different from the youthful softness of women; but they are brilliant, light, full of sparkle, very loud and with a very wide range. " Heriot's description is tinged with a sense of wistfulness, as if mourning the “ irretrievable loss ” of castrati's unique, “ irrecoverable skills ” to the passage of time. Unlike choirboys, whose voices were lost to the onset of puberty, castrati underwent decades of rigorous training, earning them astronomical wages and frenzied public adoration. For hours on end, they were compelled to hone their craft, pushing their voices to almost violent extremes to achieve machine-like precision. However, their mannerisms and resulting unusual physical appearance also made them the subject of mockery and ridicule. This was not solely due to the roles they were cast in, but also because even modern scholars genuinely believed that castration led to distinct physical developments, particularly in the larynx. Eighteenth-century opera caricatures depict castrati as towering figures with disproportionately small heads and massive, barrel-chested torsos, fueling speculation that the enlarged chest cavity may have provided greater lung capacity. This, in turn, may have allowed castrati to sing extended phrases with remarkable dynamic range, rendering them uniquely gifted vocalists whose abilities surpassed those of their male and female counterparts. Although the practice of castration was outlawed in the 1880s, making it superbly challenging to conduct scientific studies on their physical development, the depiction of castrati as almost otherworldly beings with superhuman vocal abilities continues to fuel the myths and legends surrounding the sublime, angelic quality of their voices. One resource available to musicologists investigating the 'myth of bel canto' is a collection of wax cylinder recordings of one of the last castrati in history, Alessandro Moreschi. Although his voice, arguably imperfect, has been preserved for posterity, the limitations of wax cylinder technology render these recordings somewhat incongruous as a means of studying castrati's singing style. The recordings, characterized by Moreschi's comically squeaky voice and compromised audio quality, are often relegated to footnotes in scholarly research, leading many to assume that no examples of castrato singing exist. As a result, we are left to rely on word-of-mouth accounts from peers, musicians, and composers, often in the context of promoting their own artworks to patrons. Consequently, the unique and almost mystical qualities of castrato singing seem forever lost to the passage of time. However, it is possible that these qualities may not be entirely beyond recovery. With their project "If it ain't baroque…", Hidéo SNES has pioneered an AI-powered application that breathes new life into Moreschi's wax cylinder recordings, elevating them to the splendour of modern productions. Through a three-stage process, the original audio quality is first enhanced, and then AI-driven analysis of contemporary soprano and falsetto vocals is used to extrapolate the missing frequencies, effectively reconstructing the full dynamic range. The original recording provides sufficient timbral information to enable the synthesis of Moreschi's voice in its prime, focusing on biological models of human voice range instead of attempts to woo long dead patrons. When the project premiered at the Museum of Folk Art Vienna in summer 2024 , audiences were mesmerized by the sound of a castrato voice, unheard for over 120 years. Moreschi's vocal clone performed a rendition of "De Finibus Bonorum et Malorum" , a text by Cicero more commonly known today as the Lorem Ipsum placeholder. In a deliciously ironic twist, musicology has once again proven itself to be a discipline that delights unexpectedly. From human bodies trained to reach machine-like precision, to analogue machines that struggle to capture these unique qualities, to modern machines designed to synthesize human-like expression, we find ourselves on a fascinating journey. And yet, it is striking to note that these modern machines, capable of recreating the voice of a castrato with uncanny accuracy, are often ridiculed and mocked for their own limitations and quirks. Inspired by this centuries-old pursuit of aesthetic perfection, Hidéo SNES has revived one of the most distinctive forms of music in history, yet a question lingers. Can we truly recreate the essence of a bygone era, or are we merely paying homage to a lost art? One thing is certain, however: the allure of ‘bell canto’ remains, and its legend endures. _______________________________ Image credits: castrato1-3 Prompt: "Eighteenth-century opera caricatures depict Castrati as towering figures with disproportionately small heads and massive, barrel-chested torsos. It is speculated that the enlarged chest cavity may have provided greater lung capacity, allowing Castrati to sing extended phrases with remarkable dynamic range." Credit: Stable Diffusion 3 (SDXL3/MMDiT) with LoRA "Deep Histories" by Hidéo SNES, 2024 --- castrato 4-6 1 Caricature of a performance of Handel's Flavio, featuring Gaetano Berenstadt on the far right, the soprano Francesca Cuzzoni in the centre and castrato Senesino on the left. Artist: John Vanderbank URL:  http://www.haendel.it/interpreti/old/senesino.htm Credit : Public Domain 2 Charles Joseph Flipart: Portrait of Carlo Scalzi in costume for the role of Sirbace in Rosbale of Porpora. ca 1721-1729 Credit : Public Domain 3 Caricature of Carlo Broschi (Farinelli) as Berenice in Vinci's Farnace, Rome 1724.   Credit : Public Domain --- Allessandro Moreschi Alessandro Moreschi, the last of the Sistine castrati, c 1875, Author unknown, Credit : Public Domain Alessandro Moreschi c. 1914, Author unknown,   Credit : Public Domain Alessandro Moreschi (1858-1922), last surviving castrato of the Sistine Chapel's Choir., Author unknown,   Credit : Public Domain

A part of the team of D#AVANTGARDE was invited to addend the programme " Creating Futures: Art and AI for Tomorrow's Narratives " at Salzburg Global Seminar , and we were more then honored to participate in this format. The Salzburg Global Seminar is an independent non-profit organization founded in 1947 with a mission to challenge current and future leaders to shape a better world. Having worked with more than 40,000 Fellows worldwide, they have been at the forefront of global movements for change for more than 75 years, with significant impact on individuals, institutions, and systems. Whether at our home of Schloss Leopoldskron, online, or in locations around the world, their programs are inclusive, interdisciplinary, international and intergenerational and are designed to provide a global lab for innovation and transformation. This program aimed to be a global lab for innovation and systems transformation by combining theory, policy, and practice across sectoral silos. The programme addressed a wide range of key questions, including: How can artists and technologists collaborate to use AI as a tool for social justice and equity? How can the integration of art and artificial intelligence challenge and reshape entrenched societal narratives? What role does creative expression play in exposing and addressing the biases encoded in AI systems? What are the ethical considerations when merging AI with artistic practices, especially in the context of cultural representation and storytelling? What potential do tech-driven art projects have in predicting, exploring, and influencing future societal trends and values? How can we ensure that the use of digital technologies in art does not perpetuate existing inequalities but instead becomes a catalyst for positive change? More about the outcome and learnings of the programme can be found here: SALZBURG GLOBAL Culture, Arts and Society – Creating Futures: Art and AI for Tomorrow's Narratives . Even more official pictures can be found here .

Following the development of the exhibition concept by D#AVANTGARDE, artworks for this exhibition were sought in an open call – the positions shown were selected from around 100 international submissions. Opinions (part of AI & Me) From mots Daniela Nedovescu and Octavian Mot, collectively known as mots, are two Romanian filmmakers and transdisciplinary artists working together for over a decade and currently residing in Germany. They write and produce a variety of creative projects, ranging from multimedia installations to web series and films exploring the irony of human behavior. ‘AI & Me’ is a multi-piece installation that explores the interaction between artificial intelligence and human participants. It encourages contemplation about the relationship between humans and AI, particularly focusing on the themes of judgment, perception, and the human willingness to be analyzed by machines. ‘Opinions’ is the most recent addition to the ‘AI & Me’ installation and features a pair of classic television sets that display the honest opinion of AI about whoever stands in front of the piece. The artwork updates live, reacting to each new person who steps up to it. The machine looks at the person and if it likes them, it uses a series of AI models to form an opinion. After a few seconds, one TV displays the opinion while the other shows an image of the person as seen by AI. At its core, ‘Opinions’ is a call to introspection. It challenges us to question not only the intelligence of machines but also the foundations of our judgments and beliefs. AI acts as a lens through which we see ourselves reflected, but the real question is whether we like what’s being reflected back at us. New Aura and Hunters Daugther From Lulu Schmidt X The Ghost Carola Schmidt completed her studies at the University of Applied Arts Vienna with Gabriele Rothemann and at the Berlin University of the Arts with Rebecca Horn. The Ghost studied at the University of Applied Arts Vienna with Christian Ludwig Attersee and at the Academy of Fine Arts Vienna with Daniel Richter. Lulu Schmidt and The Ghost present an exploration of the boundaries between human and machine art with their series of limited oil paintings. At the heart of this exhibition is the question of originality and the role of technology in the artistic process. The motifs were created by Lulu Schmidt with AI and painted in an edition of 10 pieces per motif (the buyer decides on the size) by a “ghost painter” in oil on canvas. The works are based on a vision of something greater. The Ghost takes the digital creations and breathes life into them with love and dedication through his brushstrokes, giving them soul and aura. Each oil painting is a retelling from the computer-generated reality, a creative rebirth. The serial aspect leads to a collection of unique pieces that display the same motif, yet each work is an individual masterpiece. Exploring the tiniest details, rendered with painting, reveals the unknown nature of the digital world, the nature of its intelligence. Through this connection, viewers are invited to experience the art on a deeper, more emotional level. The resulting works are a living example of how “avant-garde” art blurs the boundaries between the digital and the human. Throughout the exhibition, humor and irony are also at the forefront as Schmidt and the ‘Ghost’ play with the viewer’s expectations and question our notion of what it means to be an artist in the 21st century. A__________MANIFESTO From Funda Zeynep Ayguler Funda Zeynep Ayguler explores the intersection of visual, sonic and linguistic exposition by means of media installations, animations, films, and algorithms. She has background studies in Architecture, graduated from Anadolu University with a degree in Animation. She has studied in master‘s programs in Media Art and Design at Bauhaus University Weimar and in the Interface Cultures department at the University of Arts and Design Linz. A large collection of manifestos from the 16th century to today is transformed into a 3d shape, wherein text mining techniques are used to reconstruct the linguistic contexts of words from the raw text. Locally sourced mycelium fungus used as the filling material, giving rise to an organic living sculpture through this digital hybridization. The embedding visualization is based on the point cloud data in which every dot represents a word in corpus of the raw text. Inside an abstract vector space, that is derived from real-world language corpora, words become points in n-dimensional space, where algebraic operations shape the syntactic and semantic creation of language. Me, Myself and I From Claudia Larcher Claudia Larcher’s work explores video animation, collage, photography and installation. The artist critically integrates artificial intelligence, which she uses as an experimental tool for her art. Based in Vienna, she has presented her work in numerous exhibitions in Austria and abroad, including Tokyo Wonder Site (Japan), Slought Foundation Philadelphia, the Weimar Art Festival, Centre Pompidou (Paris), Ars Electronica Festival (Linz), Museum of Contemporary Art in Roskilde, Manifesta 13 and Anthology Film Archives in NYC. She has received numerous awards, including the Kunsthalle Wien Prize, the Outstanding Artist Award, the Vorarlberg Art Award, the Prof. Hilde Goldschmidt Award and the Austrian Art Award. „The triplet in the title basically give it away already: identity in the digital age, especially in the face of image production and reproduction processes, is subject to incessant multiplication. Or to put it another way: the ego, what one could also call the “digital subject”, is now subject to a technologically fuelled tendency to splinter, while also being shrouded in a nebulous illusion of unity." Claudia Larcher‘s „“Me, myself and I““ does nothing less than cause this moment of fragmentation and simultaneous resynthesis to collide productively. The experimental arrangement is as simple as it is captivating: Larcher has added 350 photographs of herself (up to the age of 24) to a GAN (Generative Adversarial Network) which then spits forth a continuously deforming flow of images containing perspectives on identity that go beyond the original photographs. The soundtrack proves that all of this is not based on any kind of master narrative about what AI can do or possibly wants. Here, Larcher has processed dialogues that she has conducted with various chatbots on the subject of identity and turned them into a script that interconnects fragments of ego perception in a multidirectional manner. Conceptions of what is currently appropriate by Catherine Opie, 0302004#2-02 From Hidéo Snes It is said that Hidéo Snes is otherworldly, different. A creature so disturbing, strange, and twisted that its presence is in a constant state of flux. An ancient god with tentacles, a many-breasted space vixen, a many-faced, devilish beast. A terrifying symphony of ideas. Hidéo Snes fundamentally questions the idea of artistic production processes and establishes a neo-modern continuum in which the fragmented self is reflected in equally distorted selves. The artistic practices of SNES include working with interactive digital media, installation, performance, and the use of artificial intelligence for artistic purposes. Charles Baudelaire once said: “Photography is the mortal enemy of painting; it is the refuge of all failed painters, the unskilled, and the lazy.” By this, he meant that photography as a new technology would pose a threat to traditional artistic practices. Painting had long been considered an artistic form of expression, but with the invention of photography, a new competitor emerged. Baudelaire’s harsh words reflect the discussions of the time, where artists debated whether photography was art or merely a craft. His criticism of photography was certainly an exaggeration, but it also shows how threatened artists felt by the new technology. Similarly, AI and the work of or with AI are criticized as being “the refuge of all failed painters, the unskilled, and the lazy,” and many artists see generative AI as a competitor. Just as photography once did, AI technology is now considered a challenge to traditional artistic practices. The question of whether AI is perceived as a creative partner or a threat mirrors the earlier debate about photography. With the project “Deep Histories,” which is situated at the intersection of deep fakes and critical media reflection, Hidéo SNES aims to initiate a discourse on ethical design and the use of AI in art. 相/Phase From Seph Li Born in Beijing in 1988, Seph Li has a mixed background in tech and design, and his keen interest in interactive art works led him into the field of media arts. Seph has studied Computer Science and Digital Design in Tsinghua University and continued his M.F.A. study in Design | Media Arts at UCLA. 相/Phase is an interactive, algorithmic artwork, exploring how the abstract, mathematical and basic rules of physics evolve into our infinitely varied, macro and observable/tangible world of organisms and things. Originally commissioned by Chinese Arts Now in 2020 as a digital artwork, 相/Phase will be presented as a sculptural, moving image installation for the work’s first physical exhibition. Visitors can experience 相/Phase physically in the space and use a bespoke device to influence its infinite outcomes. 相/Phase is a visual manifestation of physicist Stephen Wolfram’s theory that the universe is comprised of “a set of simple rules, that with repetition and expansion, could contain infinite possibilities for creation” (Project to Find the Fundamental Theory of Physics, 2020). This theory resonates with the principles of Daoist philosophy, known as Daosim or Taoism, founded in the late 4th century BCE in China. The core principle of Daoism is living in harmony with the ever-changing rhythms of life, with the word ‘Dao’ meaning “way or path”. Dao represents the pattern and substance of everything that exists, acting as the underlying natural order of the universe. To express these enigmatic notions, Seph uses the aesthetics and fluidity of Chinese ink painting, translating this ancient medium into a contemporary digital form. As visitors use the small device to interact with the installation, a mesmerising cosmic experience unfolds within the painting in front of them. ChatGT: do while() human dreams; From Tobias Hammerle Tobias Hammerle, a media artist and filmmaker from Central Europe, has been a member of the five-person media art collective “gold extra” for 15 years. His artistic work includes interactive documentaries, digital-analog experiences, short films, as well as sound and video works and light performances, presented in cities such as New York, Santiago de Chile, and Salzburg. Hammerle has been repeatedly recognized for his contributions to media art. ChatGT bridges the gap between artificial intelligence and literary art, inspired by the melancholic work of Georg Trakl. The project aims to reinterpret Trakl’s poetic and emotional landscapes using today’s technology. With the help of advanced language models like GPT-4, Claude II, or Gemini, the training of ChatGT, specifically the integration of Trakl’s life story and poetry, is in a phase of continuous development that will continue beyond the current exhibition. The artist does not see ChatGT as a final implementation but as part of a process that expands the boundaries of technology. Currently, AI cannot genuinely experience emotions or personal drives; instead, ChatGT attempts to simulate human thought processes and feelings. This ongoing development serves not only as a technical demonstration but also stimulates deeper artistic and philosophical reflections. ChatGT is also intended as a warning about how human interaction is increasingly being “hacked” by chatbots – a development where bots pretend to be human, while people often can no longer distinguish whether they are communicating with an algorithm or a human. This situation allows the machine to continuously learn more about human beings and their vulnerabilities. Simultaneously, ChatGT embodies a sort of Traklian melancholy, a reflection on its own inadequacy, unable to think and feel like a real Trakl, let alone fully grasp human complexity. SCHIELE'S GHOST RELOADED From s.myselle Stephanie Meisl, s.myselle, explores the intersection of art, technology, and communication in her works. With a Master of Arts in Communication, she incorporates new technologies such as artificial intelligence and blockchain art (NFT) into her projects. Meisl‘s research focuses on the interface between art and AI. Her notable projects include „Digital Terrorism 2.0“ (2019), „OK Computer, I want full manual control now“ (2021, awarded the Salzburg Media Art Prize), and „Schiele‘s Ghost“ (2021). In 2022, she co-founded D#AVANTGARDE, a community connecting new technologies, creativity, and art. In 2023, together with Andreas Fraunberger, she founded genAI D#AVANTGARDE, a community that organizes regular events and think tanks on AI in Vienna. SCHIELE‘S GHOST RELOADED (V2) 2023 continues my artistic exploration that began with „Schiele‘s Ghost 10,000“. This project aims to integrate a person living today and establish a connection between the past and present using the AI tool „Midjourney“. By merging photos of contemporary faces with generated images from „Schiele‘s Ghost 10,000“ in blend mode, a connection between Egon Schiele and the modern world is created, resulting in new images where individuals are not recognizable. Midjourney‘s technology offers new perspectives, imitating Schiele‘s style with an unknown dataset. In 2023, almost photorealistic images can be generated, albeit with deliberate imperfections that define a striking expression of AI art this year. AI art is a time document, created through technology, with each generated image being unique and connected to the present. The creative process is a mental journey, and these artworks are testimonies of a unique epoch in human history amidst a technological paradigm shift. The works in „Schiele‘s Ghost Reloaded“ represent the collaboration of human and machine, exploring the boundaries of creativity in the age of AI. The series is printed in editions of 10, with each buyer receiving an NFT. Roter Regen From Björn Drenkwitz Björn Drenkwitz, who lives and works in Frankfurt am Main, works in the fields of video performance and video portraiture. In his creative engagement with media art and photography, he conceives of these new media as sculptural elements, integrating them into expansive installations. Pursuing a trans-media approach, he often works with actors and singers. The processes he probes in his video pieces also underlie his conceptual objects, graphic art, and photography. His work revolves around time, its significance for video as a linear medium, and the effect of its passage on the audience’s perceptions, affording the viewer an unmediated experience of the seconds ticking away, the brief duration of a sensation, or the calm that comes with focused contemplation. In the summer of 2022, the wildfires in France and other parts of Europe were a predominant topic in media coverage, highlighting our vulnerability to a changing climate. The most impactful images of the catastrophe for me were those of firefighting planes repeatedly dropping water, tinted red with phosphates as fire retardants, into the flames. These images of disaster possessed a certain aesthetic quality, raising the question once again of whether horrific events can be aesthetically depicted in art. Along with the detachment we experience as viewers, due to the almost exclusively digital observation of such images through an intermediary device, this led me to explore these two aspects. To address the viewing of images through digital devices, I selected tiny excerpts from the media images and repeatedly had them interpreted by AI-powered image enlargement software. The resulting large-format images are AI-generated visions of a real catastrophe. Between this and that is it From Antoni Rayzhekov  and Martin Murer Antoni Rayzhekov is a conceptual media artist and edicator interested in sound, body, and form as interconnected systems of meaning. Originally Bulgarian, he is currently based in Salzburg where he teaches Experimental and Digital Media classes, and partake in academic research and interdisciplinary collaborations. Martin Murer is a researcher, designer, educator, and artist working with and around interactive technologies. His main interest lies in how new technological expressions unfold through engaging with existing artefacts and tools. “Between This and That is It” is an interactive artwork which augments an old typewriter with an AI, blending several decades of computerized optimization of text production. The artwork employs an offline processing machine learning-based language model embedded in a typical office typewriter from the 80s. Deliberately diverting from the pervasive conversational user interface, the interaction style is based on a well-defined minimalist pattern of complementing two user-supplied words with a third word that – in the model – lies in the middle of the other two. This constraint interaction invites to explore the limits of the semantic space of language models and poses questions related to the topology of meaning, with respect to truthfulness, biases, and cliches, by creating a semi-intelligent poetic co-performance with the audience. The advances in AI and particularly the exponential development of language models have enabled a new generation of artistic research and production in the realm of New Media, Interactive Art, AI, and HCI. This project seeks to foster a discussion on the creative collaboration between humans and AI within the constraints of machine learning technologies embedded into objects from the near past. The experience and the perception of the interaction are shaped by a hybrid space shared between the audience members and the AI, the mechanical limitations of the typewriter, the embedded mini-computer’s computational capacity, and the language model itself. Hybrid Resonance From Malou van der Veld  and Teodoro Rava Teodoro is a material designer based in London. Interested in bionic systems, he creates intuitive mechanics that lead to creative kinetic structures. Malou is designer and researcher exploring dynamics within technologies, utilising humour and absurdity. She works with sound, sculpture and film. Hybrid Resonance consists of a self playing acoustic artefact played by two entities, human and machine. The aim of the project is partly to explore the generative qualities, but above all the human self reflective qualities of machine learning in the form of a collaborative music performance. The machine learning is controlled by the Open Source platform Wekinator. The project is a collaborative effort between Malou Van Der Veld and Teodoro Rava, two recent graduates from the Material Futures course at Central Saint Martins, where they met As passionate advocates for gender and tech politics, they sought to address the issue of bias inherent in AI systems and algorithmic injustice in response to a client project from Google DeepMind. While acknowledging the significance of this problem, they also recognised the limitations of a techno-solutionist perspective. Thus, they chose to pursue a more applied approach that would offer a safe haven for subcultures and underground communities through music and its link to avant-garde music production. The constant evolution of technology, along with the disenfranchisement and underrepresentation of countercultures, has made it essential to create a safe space for escapism, where we imagine an orchestra where AI controlled bionic instruments can offer a sense of self-reflection through collaboration. Hybrid Resonance aims to explore this space through a feedback loop that constantly evolves and adapts. Do Scots dream of robotic bagpipes? From Georg Hobmeier feat. Juan Alzate Romero Georg Hobmeier is a mixed media artist working with gold extra, Causa Creations and whoever pays him to make interactive media and narrative design. Juan Alzate Romero is a sound engineer and composer known for his realtime audio coding prowess while also working at Apple as a software engineer. In the realm where technological obsolescence intertwines with cultural immortality, ‚Do Scots Dream of Robotic Bagpipes?‘ stands as a poignant inquiry. Utilizing antiquated AI—rooted in the arcane mathematics of Markov chains and stochastic models—this project crafts an auditory homage to the Scottish Highlands, merging the unpredictable with the melodious. These mathematical constructs, emblematic of a bygone digital era, now orchestrate the timeless sound of bagpipes, evoking Scotland‘s rugged beauty through a symphony of algorithmically generated harmonies. Markov chains, in their essence, map the probability of note sequences, mirroring the unpredictable cadences of nature itself—each note a footstep on the mist-enshrouded paths through heather-laden moors. Stochastic models, imbued with the caprice of random variables, orchestrate these notes into symphonies that evoke the vastness of Scotland‘s rugged landscapes, where beauty is etched in the shadow of each glen and peak. The project‘s auditory alchemy captures not merely the melody of bagpipes but the soul of a land where history is inextricably woven into the fabric of its vistas. ‚Do Scots Dream of Robotic Bagpipes?‘ is not merely an artistic endeavor but a philosophical exploration, pondering the significance of cultural memory in the digital age. Through the lens of Scotland’s haunting vistas and the ghostly timbre of algorithmic bagpipes, it invites reflection on identity, loss, and the aesthetics of decay, challenging the boundaries between the rapidly advancing digital frontier and the steadfast heritage of human expression.“ Units of Measure From Lauraine Mak Based in Germany and Canada, Lauraine Mak’s practice interrogates items and images of popular culture through a variety of mediums. In 2013 she received a BFA at Emily Carr University and in 2019 she joined the Kunstakademie in Düsseldorf. She completed her MFA at Simon Fraser University in 2023. Units of Measure is a colour swatch composed of vacuum formed panels of a disassembled model toy car. Each panel is painted a unique colour and is accompanied by an AI generated swatch name; both components seemingly bear no inherent relation to one another. The work in its totality arouses a sense of choice, customization and configuration, while deconstructing the application of language and colour. It invites the viewer to engage with an absurd taxonomic system of selection through arbitrarily circumscribed nonsensical language. The use of AI examines the quality of language and meaning as a consequence of hyper-generation and over-saturation. ChatGPT’s algorithm learns by accessing the multitude of language available in the complete history of the virtual world. Using strict prompts, the AI generator’s limited understanding of colour is exposed because as a purely linguistic engine, its understanding of colour is bound strictly to language rather than visual or ocular sensibilities. While the goal of ChatGPT is to generate language which is indistinguishable from human language, it is simply mimicking prose and not generating anything new. The results are therefore familiar and uncanny, yet awkward and disconnected. Reflecting the modern consumerist obsession with class and the privilege to select, the work exposes the corporate processes that take advantage of syntax to promote any kind of emotional association, even if the outcome results in the loss of coherent logic. Units of Measure challenges the arbitrary desire to prescribe ‘meaningful’ names and investigates the effect of linguistic intervention on objective materia. The viewer is invited to read the AI generated names and reflect on consumerist patterns that promote mass production of identical products made to be available in any colour, shade, or sheen. IT Pieces Songlyrics From Flora Miranda Flora Miranda is an Austrian visual artist and couturier based in Antwerp and Vienna. How has our identity changed with the internet and computers? What if we could send each other like an email? She explores such questions by experimenting with new technologies to reimagine the role of the designer. In conceiving „IT Pieces Songlyrics,“ I developed a prototype that envisions the future of creation and design. This endeavor marked my initial venture into the realm of machine learning in 2016. I thought of a future trajectory of artistic expression, and wondered whether crafting a software system and digital craftsmanship could be regarded as a novel form of creativity. Furthermore, I delved into the concept of artworks that evolve continuously, responding dynamically to individual data. What if we could materialize these dynamic digital designs into garments, at any given moment? „IT Pieces Songlyrics“ served as the inaugural proof of concept for these possibilities. The project was realised as a webtool featuring a front-end with a social media login, garment generator, and shopping capabilities. On the back-end, I meticulously trained a machine learning model to discern sentiment in song lyrics. This model was integrated with the social media API and linked to a knitting machine, establishing a fully automated process capable of designing personalised garments. This marked an initial exploration into the realm of empathic AI, a technology poised to assume the creative mantle by tailoring bespoke works for individual clients. As the project unfolded, I witnessed a shift in my creative role, transforming from a traditional creator to a facilitator connecting my expertise in garments and textiles with digital design and software. The design itself would undergo alterations based on an individual‘s social media activity, presenting a novel intersection of personal data and artistic expression. „IT Pieces Songlyrics“ was exhibited at prominent venues such as HKW Berlin in 2017, HEK Basel in 2020, and MAK Vienna in 2023. Artificial Lifeforms From APNOA APNOA is an audiovisual collective, founded by Sebastian Drack and Tobias Feldmeier in 2013. The artists aim for forward-thinking ideas and strategies in practice and theory, in order to provide immersive multi-sensory experiences and narratives, presented as audiovisual performances, installations and multimedia productions. Their work is settled in the field of performative interaction and seek for an ambiguous character generating synesthetic correlations whithin the act-theoretical semantics and immediate, aesthetic perception. “Artificial Lifeforms” is a (speculative-scientific) examination of the historically contradictory concepts of evolution/creation in the Anthropocene. The creation of unprecedented species counteracts the actual existing biological origin, which is increasingly difficult to perceive purely using sensory means. The focus of the work is diffusion – models that were trained with individually created data sets – selected insects from an entomological collection were specifically photographed and textually categorized. Plotter Drawing, 1979 From Vera Molnár Vera Molnár (5 January 1924 – 7 December 2023) was a Hungarian media artist who lived and worked in Paris, France. Molnár is widely considered to have been a pioneer of the generative art aspect of computer art. She was one of the first women to use computers in her fine art practice. In the 1960s, she founded two art groups in France concerned with the use of art and technology: the Groupe de Recherche d'Art Visuel and Art et Informatique. Born in Hungary, she studied aesthetics and art history at the Hungarian University of Fine Arts. In the 1940s and 1950s, she created abstract paintings. By 1959 she was making combinatorial images and in 1968 she began using a computer to create her first algorithmic drawings. In 1976, her first solo exhibition in the gallery of the London Polytechnic took place. Her work has been widely collected by major museums. In 2007, she was named a Chevalier of Arts and Letters in France. Molnár was selected as one of 213 artists for the 59th Venice Biennale in 2022. Installation Views by Rudolf Strobl , Performance Documentation by David Fisslthaler . The exhibition was curated by Stephanie Meisl and David Fisslthaler and organised in a collaboration between D#AVANTGARDE , Kunst im Traklhaus and Land Salzburg .

The exhibition AI and Art gained a lot of Media Coverage in reginal and national Media. Below are some Articles about the exhibition.

This is the first attempt to talk to the digital twin s.myselle Please understand that she is still in training mode and might not always answer every question correctly.

The exhibition "AI and Art. A symbiotic vision" was part of the call 100 Jahre Kunst im Traklhaus. This special programme was introduced to mark the 50 year anniversary of state owned Gallery "Kunst im Traklhaus". The gallery was looking for modern exhibition concepts for this special space named after the Austrian poet Georg Trakl, who is considered one of the most important Austrian expressionists. The exhibition aims to explore the interface between AI and art and enable the public to experience artworks on both an analogue and digital level. Following the development of the exhibition concept by D#AVANTGARDE, positions for this exhibition were sought in an open call that was curated by Stephanie Meisl and David Fisslthaler – the positions shown were selected from around 100 international submissions. Installation Views by Rudolf Strobl . The works and artists on display differ greatly in their approach and expression, but there is a unifying element: the exhibition aims to explore and illustrate the possibilities that arise from the combination of artistic creation, artificial intelligence (AI) and new media. So it's not just about criticising the use of AI – the exhibition focuses on works that integrate AI into their creative process and use it as a cooperation partner to show a creative dialogue between artists and AI, using classic and new media as a means of expression. The goal of the exhibition is to question and understanding of the roles of AI and creativity, to enrich discussions and opinions about the role of AI in art, and to explore the possibilities and limitations of this technology. This ranges from the integration of AI into the creative process and collaborations between artists and AI to the reinterpretation of existing works. The positions on display range from classic media to moving images and interactive installations. Installation Views by Rudolf Strobl . The exhibition featured works and performances from APNOA , Funda Zeynep Ayguler , Björn Drenkwitz , Claudia Larcher , Seph Li, Lauraine Mak, mots , Flora Miranda , Georg Hobmeier feat. Juan Alzate Romero , Tobias Hammerle , Antoni Rayzhekov and Martin Murer , Lulu Schmidt X The Ghost , s.myselle , Hidéo Snes , Malou van der Veld and Teodoro Rava , and Vera Molnár . The exhibition was accompanied by a series of events: from a keynote by Merzmensch and artist talks (with both the artists and external speakers) to workshops and performances, with additional guided tours trough the show as well as 'art walks' to other exhibitions in the area – we were very honored to cooperate with the Zwergerlgartenpavillon der Stadtgalerien Salzburg and Mozarteum University to enable some of these events. Photos by David Fisslthaler . In this contribution to anniversary of the Kunstraum im Traklhaus, we wanted to explore and map the possibilities that arise from the connection between artistic creation, artificial intelligence (AI) and new media. The exhibition focused on works by contemporary artists who integrate AI into their creative process and use it as a cooperation partner.  The exhibition was curated by Stephanie Meisl and David Fisslthaler and organised in a collaboration between D#AVANTGARDE , Kunst im Traklhaus and Land Salzburg .

A part of the D#AVANTGARDISTS – following the lead of Stephanie Meisl – were invited to participate in an exhibition in Hallein, a City near Salzburg in Austria. The exhibition was titled "AHA / Anti-These Hallein" . We are the antithesis. Hallein, a well-known working-class, industrial, and artisan city, has always been an inspiration, a starting point, and a departure point for artistic creation. This fact will be brought into sharper focus during the summer months of 2024 through a broad cultural initiative that navigates between the concepts of rejection, ignorance, and identity, attracting both historical and artistic interest.For more information about the show and program, click here . The exhibition was coverered by several regional and national Newspapers, ORF and Schmiede Hallein .

By s.myselle, 2020-2024. "On my creative journey I find myself at the interface between past and present, between reality and surreality, at a place where the spirit of Egon Schiele and the essence of modern man meet. My latest series, which connects Schiele's ghostly traces with today's world, is an expression of this convergence." Each work is a tribute to the eternal resonance of Schiele's genius, transformed through the prism of artificial intelligence and mirrored on the stage of contemporary life. These works are neither mere reproductions or reinterpretations of Schiele's style, nor simple depictions of modern individuals. Rather, they are a novel symbiosis, a testament to the transformative power of art and technology. The fusion of real photographs with algorithmically generated artworks creates a new artistic language. A language that, like life itself, is characterised by deviations and surprises, harmonies and dissonances. Each image straddles the line between reality and imagination, capturing something deeply human that is nevertheless elusive. This series is a dialogue – an exchange between Schiele, myself and the viewer. It is an invitation to all to participate in the process of creation, a challenge to all of us to rethink the boundaries of art and identity, to find the beauty in imperfection and to experience art in a more personal and profound way. Each artwork is an invitation to participate in this dialogue, an invitation to continue the never-ending journey of artistic discovery. Read more following this link: https://forward-festival.com/article/spotlight-your-idea-winners-creatives-in-climate-change-and-art-with-ai

Meetup and RSVP for physical event: Link. Youtube Live Steam: If you can’t make it in person - here is the youtube live streaming link: https://youtube.com/live/gNoS9XX6RhM?feature=share We are proud to announce our new New Location and Partner: University of Applied Sciences Vienna. Join us for an immersive D#Avantgarde community meetup exploring the captivating domain of Avatars! Together, we'll traverse the evolution of these digital alter egos across gaming, social media, and virtual worlds. Discover how cutting-edge AI is revolutionizing the avatar experience, opening up thrilling new avenues for creative expression and storytelling. We'll discuss the ethical considerations surrounding avatar creation and use, ensuring we build inclusive, conscience-driven digital spaces. Expect a dynamic mix of expert speakers and thought-provoking discussions that will ignite your imagination and equip you with fresh perspectives on leveraging avatars to amplify your voice. This is your chance to connect with a vibrant community of boundary-pushers from across the creative industries. Let's unlock the power of avatars to shape a more expressive, connected world! 🗓️ Save the Date: 27. 6. 24📍 Location: FH des BFI Wien,MQM ML 11, Maria Jacobigasse 1 Bauteil 3.4, A-1030 Wien Doors Open: 19:00 Start: 19:30 Speakers & Guests s.myselle Austrias No1 AI Influencer will tell us the background story of her life as a multi-dimensional avatar. Kai Erenli The Legal Classification of an AvatarIn today's digital age, avatars and virtual personas (created through AI) are becoming integral to online interactions, presenting unique legal challenges. This talk will examine how (AI-generated) avatars influence the formation and recognition of virtual legal identities, considering privacy, authenticity, and accountability. Kai is the study director of the Bachelor Program “Interactive Media & Games Business”. He also serves as “General Counsel” to a Vienna based Animation Studio. Manuela Klauser Manuela will guide us into how she facilitates AI in building her 150K+ Social Media Influencer Domain around Sheisinblack.art and gives us insights into the development of her latest character series. Manuela is founder of creative agency Voller Ideen, co founder of the D#Avantgarde Community and digital artist. Manuela specializes in innovation consulting and AI workshops. As the artist behind Sheisinblack.art, she creates dark, gothic and surreal AI-generatedartworks. Konrad Gill Founder and CEO of internationally operating XR Company VIARSYS. He is very well versed in the field of avatars and virtual communities and will share some of his superpowers with us. Parallel Dimensions We will also have a parallel event in the metaverse!People from all over the planet will follow the Avatar story and live Visitors in Vienna will be able to participate from VR Stations that will be set up ;) Think Tank We will also run a Think Tank session, where you will be enabled to learn, connect and go beyond your usual borders. Hosted by Stephanie Meisl (media artist, co- founder @D#A) Andreas Fraunberger (Producer, co-founder @D#A) Konrad Gill (XR Specialist, Viarsys) Fachhochschule des BFI Wien Register now to secure your spot! 👉 RSVP using this Link. Connect with a diverse community of thinkers and innovators, and gain insights from the evolving digital landscape. Let's breathe life into the future of avatars, together. 🌟Join in for the experience and the fun! Youtube Live Steam: If you can’t make it in person - here is the youtube live streaming link: https://youtube.com/live/gNoS9XX6RhM?feature=share So come for AI&XR, stay for the fun, bring your friends, and let’s expand our world together! Steph, Andreas and the D#AVANTGARDE team. Looking Forward A LOT! Do you join our WhatsApp Group already? Things are getting really interesting there, with hot tool tips, continuous community support and much more: D#AVANTGARDE Social Hubs on our Linktree.

AI Consulting for Creatives - Boost fun and productivity. We're thrilled to invite you to our fifth D#Avantgarde Gen Ai Community Meetup. This time, we're diving deep into the transformative power of AI consulting. Don't just adapt to the future; shape it. This session is tailor-made for Executives, Content Creators, Artists, Journalists, IT Professionals and anyone who is keen on leveraging AI to redefine the landscape of creative production. Rings a bell? This is your golden ticket to the future of AI and creativity! Eventlink: https://www.meetup.com/generative-ai-for-creatives-davantgarde/events/296833607/ What You'll Learn: Through our experts, learn how to seamlessly integrate AI into your workflow, transforming not just the way you work but how you experience creativity itself. This is where the science of AI meets the art of consulting to unlock unprecedented levels of innovation, efficiency, and—yes—even fun in your creative projects. Ethical AI Use: Learn best practices for responsible AI use in visual production. Networking: Build valuable connections with like-minded professionals in the creative industries. Each of our meetups we did led to the founding of productive friendships, projects and even new startup ideas. Our Visionary Speakers: Florian Hasibar (mytalents.ai) - AI: opportunities and risks in everyday work. - Application areas beyond ChatGPT and LLM - Application areas in departments (marketing, sales, finance up to software development) Stefan Reich (next_one) - AI Driven Data Analysis, Marketing and Communications - Stefan is helping to clear out the data problems that lie between you and your customers & goals. - makes creative companies champions. Surprise Session: VREI will present a virtual speech solution, where you will be able to speak with ChatGPT enabled Avatars in a VR device - to train your speaking superpowers. Agenda: - 19:00: Doors Open - 19:30: (on time): Welcome and Presentations by our Visionary Speakers - 20:15: Think Tank: Group Sessions about AI in Visual Production - Learn From the Best. - 21:15: Chill Out and Connect Please plan for some time to reach the location. With the description below it is easy to find - but its a huge building. Live Streaming on Instagram, starting 19:30 Entrance Fee: We're introducing a nominal fee of € 10. This symbolic amount is not just about covering costs; it's about fostering genuine engagement and momentum within our community. We changed the payment to "pay at the door". RSVP >>> Please RSVP as seating is limited. >>> RSVP only if you REALLY come and let us know if you RSVPed and your are unable to come to ensure that every seat will be filled with a community member Venue We're gathering at the fabulous Videostudio Wien, a space that offers an amazing studio atmosphere, complete with all the tech goodies that creative AI folks like us adore. Thanks for sponsoring our Community! Videostudio WienUZA 1, 1. StockUniversitätszentrum Althanstraße1090 Wien Don't use google maps location of Videostudio Wien, it will lead you to the wrong place! Correct Google Maps Pin Use this link with many detailed informations and also videos to find the location >> The Location Description Link UZA 1, 1. Stock Final Thoughts We're committed to fostering a community at the intersection of AI and creativity. This meetup is not just an event; it's an experience designed to empower you with the knowledge and connections you need to stay ahead in the rapidly evolving world of AI and creative production. Feel free to share this invite with anyone you think would benefit from joining our community. Let's make this meetup another milestone in our journey towards a more innovative, ethical, and collaborative future. Warm regards, Your D#Avantgarde Hosts Stephanie and Andreas Stay Connected LinkedIn Group Facebook Group Roundup of our amazing October GenAI Meetup #4 >> here We look forward to another evening of shared knowledge, ethical AI use, and genuine connection. Thank you for your continued support, and see you there! 🌟

Read the Report of the Event here. AI and the Creatives: Revolutionising Visual Production We're thrilled to invite you to our fourth D#Avantgarde Gen Ai Community Meetup. This time, we're diving deep into the transformative power of AI in Visual Production. This session is tailor-made for Executives, Content Creators, Artists, IT Professionals and anyone who is keen on leveraging AI to redefine the landscape of visual production. Rings a bell? This is your golden ticket to the future of AI and creativity! Eventlink: https://www.meetup.com/generative-ai-for-creatives-davantgarde/events/296226953/ What You'll Learn: The Roots of AI: Understand the historical context and foundational theories that have shaped AI. Arts and AI: Discover how AI can be a game-changer in creative projects, from conceptualization to execution. AI in Film and Visual Production: Gain insights into the latest AI technologies that are revolutionizing the film industry. Ethical AI Use: Learn best practices for responsible AI use in visual production. Networking: Build valuable connections with like-minded professionals in the creative industries. Each of our meetups we did led to the founding of productive friendships, projects and even new startup ideas. Our Visionary Speakers: Philipp Lammer: A philosopher and expert on Cybernetics, Philipp will delve into the fascinating roots of AI and its implications for the creative industries. Simon Fraissler is an Austrian filmmaker and cinematographer and has been involved in documentaries such as Navalny (Oscar for Best Documentary). Together with director Stefan Baumgartner he will give us insights about how they use the power of AI to fully generate film and video for brands. Surprise Add On: We will premiere "Fox and Raven", an AI Shortfilm, which took part in the Runway 48 h challenge last week. Director: Patrick Schabus. Agenda: - 19:00: Doors Open - 19:30: (on time): Welcome and Presentations by our Visionary Speakers - 20:10: Premiere "The Fox and the Raven" - 20:20: Think Tank: Group Sessions about AI in Visual Production - Learn From the Best. - 21:15: Chill Out and Connect Please plan for some time to reach the location. With the description below it is easy to find but its a huge building. Entrance Fee We're introducing a nominal fee of € 10. This symbolic amount is not just about covering costs; it's about fostering genuine engagement and momentum within our community. Plus, it's a gentle nudge to ensure that if you RSVP, you'll join us in the fun and learning. Payment at the door. Venue We're gathering at the fabulous Videostudio Wien, a space that offers an amazing studio atmosphere, complete with all the tech goodies that creative AI folks like us adore. Videostudio WienUZA 1, 1. StockUniversitätszentrum Althanstraße1090 Wien Don't use google maps location of Videostudio Wien, it will lead you to the wrong place! Correct Google Maps Pin Use this link with many detailed informations and also videos to find the location >> The Location Description Link UZA 1, 1. Stock RSVP Please RSVP as seating is limited. We're introducing a nominal fee for this meetup to ensure that every seat is filled with an enthusiastic member eager to connect and share. Final Thoughts We're committed to fostering a community at the intersection of AI and creativity. This meetup is not just an event; it's an experience designed to empower you with the knowledge and connections you need to stay ahead in the rapidly evolving world of AI and visual production. Feel free to share this invite with anyone you think would benefit from joining our community. Let's make this meetup another milestone in our journey towards a more innovative, ethical, and collaborative future. Warm regards, Your D#Avantgarde Hosts Stephanie and Andreas Sponsored by Videostudio Wien Stay Connected LinkedIn Group Facebook Group Roundup of our amazing September GenAI Meetup #3 >> here We look forward to another evening of shared knowledge, ethical AI use, and genuine connection. Thank you for your continued support, and see you there! 🌟