 Bevor es gleich mit Tag 2 losgeht, für die anwesenden kurze Durchsage, in den Zelten auf dem Camp ist das Rauchen verboten. Es ist nicht nur nett den anderen Mittag an gegenüber, sondern auch einfach gesetzlich verboten. Deswegen haltet euch da bitte dran. Ansonsten eine Camp-Durchsage. Auf den Toiletten bitte die Klo-Bürsten belassen und die nicht mit als Spielzeug nach Hause nehmen. Es wurden in den letzten 24 Stunden vermehrt Fälle von Klo-Bürsten-Diebstahl gemeldet. Es ist irgendwie unpraktisch, wenn man die braucht und da sind dann keine. Okay, hallo zusammen. Du hast gut geschlafen, es war kalt, aber ich kann sehen, dass ein paar von euch fit sind. Das ist toll. Open Codes, Hackers in der Museum ist ein Rapport auf einem Projekt, das wir seit drei Jahren in Karlsruhe gemacht haben. Es ist eine Kooperation zwischen der Zentrum für Art und Medientechnik in Karlsruhe, ein Museum und eine Forschungsinstitution in Karlsruhe, die vielmehr über Digitalart in Karlsruhe ist. Und es ist ziemlich groß geworden. Es ist nun die größte Institution des Kindes in der Welt. Es gibt mehrere Exhibitionen in Parallel, es gibt internationalen Kollaborationen, es gibt Forschungslaboraturen. Und auf der anderen Seite ist Entropia, das ist der Chaos-Kommunikation-Club in Karlsruhe. Hier kann man sehen, dass diese Bilder sehr unterschiedlich sind. Das ist deine seltene Hackerspace, wo Hackers hacken, und dann wird sie in einem Museum geschaut. Wie kann das zusammenfangen? Auf den ersten Blick eigentlich. Auf den ersten Blick nicht wirklich. Weil die meisten Hackers, wenn sie über Museums denken, dass sie etwas Böses oder etwas, was sie in der Schule gehen müssen, sie nicht wirklich genießen. Aber die Foundation des Hackers ist, was von Steven Levy geschrieben ist, dass man Art und Beauty auf einem Computer kreieren kann. Und das ist so der gemeinsame Punkt. Und das ist wirklich der kommende Punkt zwischen den beiden. Die ZKM kreiert Medienart. Wenn du startest in der Digital-Era, dann benutzt man das Computer viel, aber usually from an Artists Perspektive. Und wenn du einen Hackerspace oder einen Kampen stehst, dann kannst du sehen, dass die Art überall ist. Auch wenn es nicht immer wichtig ist, dass die Leute mit Technologien spielen. Es gibt viele Democene, Blinkenleits. All das ist Art, die die Leute nicht immer realisieren. So Hackers approach Art from a technological perspective and the ZKM approaches it from an Artists Perspektive. And to explain how we got where we are now, we're going to have a short retrospective of the history. The ZKM had an exhibition in 1999 a net condition that showed the connection between society and technology. This is when internet was getting big along with all the buzzwords. And this was a new space that was created. And this was an exhibition that shone a light on this from an artistic perspective. And you have to realize that whenever you explain something, you use technological terms for it. But that doesn't necessarily have to be the only way. You can also use Art as a medium to explain things. Maybe not with the same approach, but always with the same goal. If, for example, I have someone who doesn't explain how a self-driving car works, I can show them software and code and tell them this is how the car drives. Or you can use a more playful approach and explain how this kind of car works. And ideally at the end, the person will have understood it and you may have used either of these approaches. This is from 2002, the GUNALT-Programmier Nacht and the CRT monitors in a basement with a very inviting sign that points away towards the basement. That was the early days of us in Phantropia. Then we had the algorithmic revolution at ZKM, where we talked about the fact that algorithms are a set of instructions, really, which Art hadn't really done much with. And this GUNALT-Programmier Nacht again with the first laptops and flat screens and the topics are still very much the same. The ZKM, they had the exhibition user, the century of the consumer, which talked about the effects the network had on people. And it was no longer the domain of artists. The internet had become a platform independent of time and space for creativity. On the other hand, we had the 12th GUNALT-Programmier Nacht. The main result of this event was the incredibly delicious GULALT-Eis-Cream. And so you have people on the one hand in Art, on the other, Ice Cream. The next exhibition at ZKM was Globale, which shone a light again on the information society, so much for the background and the way in which both of these institutions have been approaching the topic, both with their own sets of exhibitions and up to 18 GULALT-Programmier Nachts. And one other term that needs explaining and that's the term of white cube exhibition. It's a concept where pieces of arts are placed in a room and you try to make the architecture recede into the background in order to avoid interaction with the art. This usually manifests in large science. It's a curated infrastructure usually treating a single topic and often a single artist. There's usually an entrance fee. There are no sofas and no Wi-Fi. This is how it tends to look. And this is a white cube situation. I don't know if any of you have a problem with this situation. The visitor is looking at their smartphone, not at the art. For somebody who isn't very much into art, this can look pretty boring and sterile because it's not approachable. It works with some things in art but not for everything. On the other side we have the hacker space. Sit down, take a biscuit. It's a more welcoming atmosphere. The structure isn't immediately obvious. It's not always very clean. Der 3D-Drucker neben dem Staubsauger steht, dann hat das einen Grund. There's usually a reason for why the 3D printer is next to the vacuum cleaner, even if it's not immediately obvious. There's pizza and junk. The entrance tends to be free. And there's Wi-Fi unless it's currently broken. So these are pretty much diametrically opposite. So how can you marry these two concepts? Not all museums, of course, are white cubes and not all hacker spaces are messy places with Wi-Fi. So, das Ergebnis, das sind... ...and this is what the result looks like. These are hackers sitting in a museum and I'll speak more about this soon. But together with the ZEDKA M we developed a format for exhibitions that shows exhibitions or shows art but also shows the necessity and the context around pieces of arts because it has to be obviously a museum. The art needs to be organized in a certain way but it's also supposed to be a bit more relaxed because we want to work with hackers. So there's Wi-Fi, there was Club Mathe at the beginning until we run out. There was electricity and tables and sofas, of course. Man sieht vielleicht so ein bisschen parallel. You can see some parallels. There was the 18th Gulasch Programmiernacht, which now happens in the same space. And the opening of the exhibition, open codes. And there's the first funny anecdote. The idea of the exhibition was not so much to have hackers visiting and put them in a sort of aquarium but we wanted to have them contribute. They were invited und they were invited to move the hacker space to the exhibition for one night. And that was pretty successful because what do hackers do when they get space? They run their own telephone systems and they tend to do that autonomously without asking for permission. You can see the cables have simply been placed haphazardly throughout the room and nobody really asked and it was there for the start of the exhibition. And if you remember the white cube concept we saw initially, this is pretty different because it's fairly open. There weren't a lot of walls. We wanted an open space that is light and gives a certain sense of freedom. And another thing that you might not realize at first glance is that the pieces aren't necessarily organized in a certain way because there are pieces that treat coding. I think there are others that treat algorithms but they can not always be placed in one category. There's no Bitcoin corner or a technology corner. So you can walk through the room and discover pieces of art that don't look like they fit together, because they share a common trait, they may be placed together. And that was the general idea that we'd create a space where everybody feels welcome. One thing you may not see in the picture is that this space doesn't only show art. We also want to spread knowledge. Digital art isn't always something you can put in an exhibition and then it stands there for a year because many things are obsolete very quickly. So this exhibition has to stay updated and this can be done through talks and workshops and people who simply sit there. So we tried to take the characteristics of a Hacker space and place them in the context of an exhibition. And that's why they kept this exhibition a bit longer, until 10 p.m. on Thursdays and there was three entrants because if you require a payment to visit an exhibition people when they come one time, I mean how many of you have visited an exhibition more than once, this is a problem that can be solved with free entrants. And there are some fun anecdotes from this collaboration and one of them is the internet situation. The exhibition was opened. The internet wasn't the way hackers like it. It didn't perform very well. It didn't work as it should and that's why the Freifunk Collective came to the exhibition. There was no free Wi-Fi in the beginning. I mean what museum has free Wi-Fi? It's not very common or at least it didn't used to be, it's getting better though. And the solution was that they they simply hid Wi-Fi routers strategically in certain pieces and built their own network and that worked that the museum's technician was very unhappy about these hacked pieces of art and now Freifunk is integrated into the museum's infrastructure. So that turned out to be a clean solution and that was important. It may seem logical to you that you need a Wi-Fi to run a hackerspace but in a museum context that's not always the case because many workshops happen offline without any digital technology and this works and so on but hackerspaces need things that they don't obviously need but they need to have access to several solutions. So Wi-Fi wasn't an add-on, it was something that we wanted to bring to the exhibition actively so that people have the tools to develop. Freifunk was chosen. The next idea was that a hacker work of art was to be included in the exhibition and the way this was done was where there was a lot of exchange between curators and the hackerspace and when they came to the hackerspace they saw things lying around and said, wow, this is so cool this should be regarded as art so we would like to have this and the way this worked was a bit chaotic I can't really say why but the work eventually turned up in the exhibition nobody exactly knows how it came there but there it was and in retrospect it was given a sign and an entry in the database because that's necessary, of course and that's the kind of difference of thinking between hackerspaces and the museum people and it's funny and there are many people who put up something in a hackerspace it's just there, it's funny and in the museum there are all kinds of people involved the superiors have to be informed the curators have to know that the work is there and that it fits topically and it has to be entered in publications so you have to have more advanced preparation that hadn't been quite clear and that's how we just kind of spontaneously wanted into that area and what Clemens and Felix developed I have to take care not to say anything that's wrong now it was a master key for the encryption of media content including HDMI and the idea was there had been debates already at CFS the content-scramming system where someone had published a key and there had been a row about whether possession of that key was illegal but the key was just a number basically and could a number be outlawed was the question and no number is illegal was the slogan that was then developed and as the printer for receipts so was used to print out those keys that could decrypt media content or could be used to sign content I think was the term the question then was is the possession of these numbers is that illegal or not that hasn't been resolved yet and that was a topic that was addressed in this exhibition clearly there was an aspect that the works always related to different topics but in this exhibition there were several questions artistic questions how do you put up something in your museum when you don't know whether it's legal or not could you be sued as a museum and those were the thoughts that had to be dealt with this is how it looks this is the key and next to it there's the printer for receipts for I don't know which receipts so that's one example of course the interesting question was how do you can you still hear me I can't hear myself anymore can you still hear me something's broken now it seems to work again now then the question of course was how did you exhibit a community a community is something that's not really tangible can you make a picture of it can you write a text about it or a video that's not very clear and the result of the deliberations was that a community as such cannot be exhibited but can just be lived and be participated in and that was the motivation for those tables and that exhibition to have community work happen on site in a space where visitors just could enter and then they might see a talk about Kobut or whatever PyCon happened so things that happened in a public space now where visitors can just assemble into and discover these things but because these things just don't happen all by themselves we supported this and called it an open meet up in these open meet ups we had all the groups that were involved it wasn't just entropia it was only Freifunk, FabLab, OkLab and guests from research institutions Fraunhofer institutions for example kasshub.ai whatever they met in that room and they had regular events such as every first Thursday of the month from 5pm you would have people sitting there and that was a very good success because among others communities got to know each other Kassel isn't that big with about 300.000 inhabitants so it turned out that there were communities that did similar things but had never met in the same room and didn't know each other and that basically happened by using this exhibition as a platform and at the same time hackers came to this event and said oh cool there's an exhibition here we could take a look at it and museum visitors thought oh cool there are hackers around so it worked both ways and that of course led to society as a whole and of course Freifunk, FabLab, OkLab and all are not just a means to themselves it was shown but they have a certain meaning to the wider community the wider society can exchange messages can reach new areas depending on which group you are into you can find new connections and of course the museum isn't a nice place for that because exactly the kind of audience which would come to that kind of place and that was one of the really lasting effects of this exhibition and we've talked about it before the communities have to be lived and have to happen and that's why there were many talks in the exhibition and these were not regarded as an addition and add on to the art were an elementary part of the whole thing just like the exhibition so another pillar of the whole thing the idea was that the talks and discussions could be reflected on in certain works of art and conversely art could serve as an inspiration when talks perhaps ended people could look to appropriate works of art in the exhibition and talk about them and that way the kind of program that you have with installations of this kind when you think workshop and museum you think of tinkering with some stuff building painting and we certainly stepped this up and we had regular sometimes even more than once in a day we had workshops happening about all kinds of topics there was live coding there were talks by the Goulash programming night show the Goulash programming night a popular event and we had hackers meet so there was exchange of all kinds of groups and topics and if you invite many hackers into an audience like this you have to take certain precautions because media art isn't necessarily top secure in terms of IT security but please do not hack is what the science said but no one from the Goulash programming night managed to install windows onto an artwork for example so there was a kind of a growing understanding initially when entropia and others work together you heard sounds like oh it's this art I see this every day boring just a monitor you can hack it and then many members gained further understanding and saw that art depends on context and you have to look at the way it was created when it was created and in some cases you might have people say oh this is pixel graphics and then eventually you may discover this was done in 89 that's what things looked like at the time and the respect of that context well for that context was something that raised the understanding of art as well of course in general now regarding the workshops we can talk about some cool examples the way we did it in the past this was a photo from India where we went with the exhibition and we went to the perhaps greatest slum in Asia or even the whole world 800.000 people in 2 square kilometers and we used the turtle software which you may know you can drag and drop blocks to form code and was then executed by a graphical machine and that completely fitted into the concept of the exhibition because on the one side you had to code you needed a certain good understanding of coding and abstract thinking and maths and on the other hand there is a creativity element as well and you can introduce colours you can show the connection between art and technology and the nicest thing about this machine was that people could take it home on their t-shirts for example and they could say I've been programming something and that's another purpose that you can bring something take something home with you and yeah another thing in India was this light cube which is a huge LED cube that was developed by Entropia and children in India built these lamps together with an artist from Katzwer again to enable collaboration between art and technology this was very cool but not always easy because artists and technologists think differently and that was something we learnt this is another thing that you may not see everyday it was an algorithm that happened in an exhibition and of course it's always a bit dangerous when you have people partying next to art it went well people were very civilized in India as well as in Germany and using this space for other things in arts turns museums into a space that's not simply passive but also allows for learning and education and a final picture might be this exhibition from Shanghai and that's currently running there and I think you noticed in these three exhibitions I just showed you in Katzwer Mumbai in Shanghai that they always create this very open space with few white walls and lots of content and it always has chairs and tables and allows people to participate and that was the core of this project we wanted to take the elements of a hacker space as you know it and place it in the context of a museum and hack the museum in a way so to come back to the title of this talk hack is in the museum, yes definitely visitors, curators all of these were present and may have been hacking art we're not entirely sure it's always hard to judge this yourselves but we took this space and used it for something different so just like we like to take for example camps and turn them into party areas we took museums and turned them into hacker spaces and this ran until several years it was visited by lots of both normal visitors and hackers and was also often used as a platform for talks this I hope gave you an overview of the things we've been doing in Karts for the last two years it was one project where 10 to 20 members were involved I hope you learned something today but we even have time for questions thank you so far if you have questions in the audience please come up to one of the question angle angels and ask a question hi thank you for this great presentation and for the idea of connecting hackers and museums I am approaching this from the cultural side and I know that it's very hard to make museums see the value of free admission how did you achieve this that's a very good question it wasn't always simple some of it was taken by sponsors that donated we asked them for donations we had one sponsor who donated a lot but that was really just a drop in the bucket I think the main thing that enabled this was that many of the artworks and many of the events weren't bought for the or weren't commissioned for the exhibition we said it's something we're doing together we said it's a platform and if you do a workshop think of a workshop it's not something you do for the museum it's something because you want to do it and that really drives down costs because presenters you save on the budget for presenters and of course this isn't supposed to be unpaid work so that's why we gave free admission and said we're giving you free admission you can give us free content and of course the exhibition ran longer so the budget you need for build up and tear down is spread over a longer time frame and if you say that we open until 10pm on Thursdays we're also supposed to do that because we also opened later 2pm instead of 10am so we used some tricks but at the end of the day you can't earn money doing this I think it tore a pretty large hole into our finances but it was definitely worth it mich würde interessieren ob ihr ande i wonder if you plan any other projects with art institutions in this project yes definitely in Karlsruhe we're collaborating with the U-Beds which is a club for youth culture they have theater workshops for example and they have an event called the U-Beds Mediale where they invite school groups and we're present with soldering workshops and we're also collaborating with the ZKM and the University of Applied Sciences they're giving us space and rooms to do this and another we're also helping with the seasons of media arts where we bring art to the public space and on Saturday we're having a workshop on these dust sensors today there's a workshop on the city's transparency portal so we want to continue doing this and goes far beyond what entropia normally does any further questions alright thank you very much an ich über die im im im im im im im im im im