 So, dann können wir den nächsten Talk-Habbe beginnen von Eva Oliwine und Robert Fersch. Hi and welcome to the translation of the Escapiel zu tun, Hauen wir ab Talk. This is Kathi and Felix and we'll be your translation team for today. So, just go two steps ahead and now 45 degrees upwards. If you can't see the video right now, they are showing a video or whatever they are doing, the art project basically. So, now go 90 degrees left and then 180 degrees, 10 degrees left, alright, so 3 degrees left again, one step forward, little bit up, unfortunately you can't read it, 10 degrees to the left and now 30 degrees down, additional 10. Eva Oliwine und ich, Robert Fersch, wir ... Eva und mich, Robert Fersch, we're not from the Hacker scene, but we're doing context-driven art and this time we went to the Hacker scene context, but before we arrived there you just saw in the video how we imagined such a robot that was a visit to the apartment that will be the topic today. Eva was the robot, me the controller, a little bit to the left, a little bit to the right in a way robots would behave and that was before we collaborated with the Kaustreff Chemnitz and the Zappler Leipzig at the very beginning of our project. This project is called, there's so much to do, let's just leave. These words were found on a postcard, over 20 years old, 20 years forsaken apartment and they became the title of this work because they were very descriptive of what we found and before we could find this apartment it had to be found by someone else by Lars Fassmann. He's a supporter of very active persons in Chemnitz, he has bought a house in Chemnitz and when he got the keys for this house the former owner was telling him about this ... this apartment which has not been entered for 20 years but was still completely full of objects but the former proprietor was not there anymore and of course she wasn't very happy about that. Lars was very interested in this apartment and he wanted to do more than just clean it up and therefore he talked to artists, he already knew and many of them listened to that and looked at it and were overwhelmed and then he talked to Eva, who told me and we were skeptical at first because an empty apartment in Chemnitz allgegenwärtig Social decline, that's everywhere in Chemnitz Chemnitz has lost 20.000 people and whole streets are empty so an empty apartment isn't very special in Chemnitz but what Eva described to me was very interesting and very special she told me about this apartment and was completely dark, even at day because a whole of the apartment all the windows are completely closed because of plants some of these apartments are still in use but this part is completely forgotten everything in there has been kept as if the former person living there would be returning any day it's more like a time travel as if you enter the moment the person living there left the last time and when you came in you immediately became very sensitive and were talking not very loud and you were trying to not interrupt anything even though of course there was nobody there as not to change anything there so we were clear that this apartment is very special and the objects of everyday life that are located there reflecting of course the time of the Wende, the end of the Berlin Wall and of course they reflect on the political landscape of that time many reasons to leave or wanting to leave and what's left in the apartment is giving many hints as to why he may have left but it can never be precise and the more we talked about it the question we came back to was why would you leave your apartment like that definitely an interesting apartment just because we were very interested and we could easily have made money from that some people are doing that and while we were researching we were looking at this article that's not our apartment but someone found this other apartment that was not inhabited since 1980 and you can look at it and it's very interesting to just google this article and look at the images it seems as if the titles are not matching with the images since the person living there left only the house management has entered or maybe love couples so it's completely untouched so as you can see on this photo you hopefully won't return to your apartment in this state so why we're showing this is that the article proves that something that is a lot less interesting received a lot of media echo from the FAZ and many other media outlets so we could have used our apartment to just take a few pictures and tell about the story and we would have generated some interest but we thought it was just a rather normal apartment but wanted to base our work on it so how can we open the door for interested persons a lot of hobos and clumsy hofs so how can we do it with minimal collateral damage some people know that this is possible with these machines without collateral damage this is a drone if you find relics from all the days today we use technical means to view them seems like a clean and objective way and we we were thinking about drone pilots and everything and these technical means are not always objective and clean as we always thought so we wanted to have this flat where everyone shutters we wanted to have people see and to ask ourselves how empathetic can we handle this thing and we wanted to show the flat and with every step we still ask ourselves are we allowed to do this right now all the time we were feeling like this is not okay and now the question is how empathetic can you be a classic step and how will how will people handle the flat without using drones and everything and how does the neighborhood feel if they know what this flat has in it and when they see what happens there is a close flat A few hundred meters we got a flat where we could base our operations. We decided to keep the flat closed and we needed something like the mass rover. But this is a no budget project we have. We are not able to have all the features mass curiosity have. And we still had this naivity. And we needed someone with knowledge of that to build us a small rover to look at the flat. Chemnitz has a so called chaos trap. It's a heck of space. We tried to reach them and we went there with a box of mate. And they already had a huge pile of mate by the way. But still maybe it was a nice guest to go there with it. In the chaos trap people were quite interested in our work. And they have the know how to do that. And in the next meeting we were able to bring better presence. And we brought a remote tank. You can steer with a remote control. And we made a simple sketch what we wanted to do. In this circle we see in the upper left we see the robots in a schematic way. Just down below you can see a house and a chimney. And inside there is the flat with 8 cameras. And on the other side just a simple control station. And we needed streams and transmission between the flat, the robot and the station. The investigation station over there. And we had to set up a multiplexer. And we split them on different monitors. And we used the Feiflung. It's an open Wi-Fi there. And we needed backups. For example we used the little disk as an image for that. And what's also important is we needed some kind of interruption. Where you can see the little lock and the wall. There's a kill switch that stops the transmission. As soon as we have to take care of the rover. So this was the idea we had on the technical means. But I might have thought about this in a more technical way. So that was to be a little bit optimistic. So only in the setup with 15 machines. Getting for free is a little difficult. And there was just one of the problems we had. But also, you know, it's also not only difficult to have all the hardware. On the other side we see other hardware we needed. And it's not the whole effect we had. Because we needed soft and hardware. And there's still soft factors we had to think about. And we as artists didn't really want to make something that people can see and can visit. We wanted to make something that's experimental. Where everyone had to take part and to think about the situation. And we had to kind of ditch the art surrounding. In unserer Intervention. Wir wollten auf keinen Fall, dass wir auch die Hunde einhaben. Wir bekamen für diese Interventionen und für diese Intervention wir hatten eine Bar. Und diese Bar hatte einen Jubiläumsgäste. Und wir wollten, dass wir die Jubiläumsgäste haben, die unsere Gäste haben. Und hier ist ein kleines Beispiel für das Design. So, these are the rooms beside the apartment. Wir mussten alle diese Gäste inszenieren. Wir versuchten zum Beispiel ein Papierkopf, die man dort... Wir haben eine kleine Binde in der Korne, so authentisch wie möglich. Und in diesem Moment, das erste Mal, dass wir uns an die selten Respekt von... Jetzt, die Nachbarn... Die Nachbarn dachten, was die... was die anderen da machen. Aber wir kamen closer in die Arbeit. So, ihr seht, wir hatten Fire extinguishers. Und die Leute haben sofort diese Arbeitsbedingungen. Und auf der anderen Seite haben wir die Station mit zwei Desks. Die linken Desks hatten neun Monitoren. Und die reine hatte einen sehr großen Monitoren. Und beide haben ein Keyboard. Und die reine additionally hat ein Joystick. Und in der Mitte gibt es ein Papierkopf, der beide Desks teilt. Und vielleicht könnt ihr es sehen. Auf der linken Monitor gibt es die Streams von dem versägen Flatt. Und auf der reine Seite sieht ihr ein Lockwindow. Und wir wollten es, nur als versägen Flatt zu sehen, nur als versägen Flatt. Und wir haben keine Advertisen für diesen Artprojekt. Wir wollten, dass die Gäste über den Artprojekt sind. Das erste, was wir gemacht haben, war dieses Initial-Protokoll, das Magnetboard, und es hat Flatt, eine zweite Flotte. Das Tennen kann nicht gefunden werden. Sie sind seit 20 Jahren versägen. Die Personalobjekte sind noch da. Also, das ist der Grund, für Flatt zu gehen. Was wir interessiert haben, war die Antwort zu dieser Frage. Die Participants konnten uns nicht sagen, aber sie konnten ein Protokoll-Window öffnen. Sie konnten die Fragen, die die Bilder, die Kommentare und die Personalkommissionen beobachten. Die Idee war, dass die Leute das printen und das mitnehmen. Aber die Leute, die da waren, haben es auf den Magnetboard gesetzt. Es gab viele interessante Dinge, die wir gesehen haben. Aber das ist unser Setup. Am April 4th, 2014, die Experimente startete. Es war 3 Tage in der Gäste. Die ersten Gäste waren sehr unbeobachtet. Die ersten Gäste waren sehr unbeobachtet. Die ersten Gäste waren sehr unbeobachtet. Wenn es jemanden sitzt, dann hat die Leute die Joystick gesetzt und sieht, ob die Monitor reakt. Und natürlich die jungen Menschen, die nicht den Manual, die wir in Worten layouten, nicht aufrechnen, so dass es so aussieht, dass es wahrscheinlich so aussieht, aber sie einfach die Hardware ausprobieren. Und ich habe ein kleines Video von den Personen, die auf der linken Desk sehen können, während der Roboter durch den Flatt gesteckt wurde. Wir würden das Video kommentieren, aber es gibt keinen Sound. Also müssen wir nur warten, bis das Video vorbei ist. In dem Fall, dass ihr nur den Audistream hört. Wir haben diese Bilder gesehen, was uns uns überrascht. Und natürlich habe ich es gezeigt, um die Qualität der Transmission zu demonstrieren. Es war wirklich interessant, mit jedem Entwurf zu diesem Flatt, dass ich immer da bin, dass ich nicht mehr denke, dass der Audistream momentan zurückkehren würde. Und diese wirkliche Gefühl, die wir am Joystick haben, wir haben auch dieses wirkliche Gefühl, mit den Leuten, die den Joystick benutzen. Und natürlich haben diese Leute hier ein paar Kommentare geblieben. Und es ist sehr interessant, weil ihr seht, dass die Interesse für die Hardware viel größer ist als die Erwärmung, die die Hardware benutzen. Hier ist ein Roboter von Rico. Der Roboter funktioniert wirklich sehr gut. Er spielt einfach die Toy. Es gibt aber dann auch besondere Wahrnehmungen. Es gibt auch besondere Wahrnehmungen. Der Roof für den Lerntern und der Staircase, das Opposite zu den Bilder auf der Wall, vielleicht ein kleiner Rack mit den Kabelkörtern, ich glaube. Es gibt viel Räumen in einem Haus. Etwas cooles Speisch-Camp, Smiley. Etwas cooles Speisch-Camp. Das ist Lob, was wir eigentlich nicht haben. Etwas cooles Speisch-Camp, das ist natürlich die kind of ... ... kind of comment we didn't want to get. A lot of critique for technical problems, mission aborted, Robotsocks, I fell over. Und in der Tat, also wirklich gut beobachtet, das muss man vielleicht dazu sagen, wirklich gut beobachtet. And indeed, somebody did make a nice, he did realize what happened. We of course had to go in and put the robot back up. Lerich, please remove the black screens. Please optimize the mouse controls. What am I doing anyway? There is some reflection in the third comment. And the darkness is because of the daylight time in April at quarter past nine. That's obviously pretty dark. There is no mouse at all. Improvements, requests for improvement. Directed at some invisible institution, in this case us, even though they didn't know who we were. And the last example from Mario Scherf, from the sixth of April, seen four persons positive, very cool. And you can see from this that people had fun using this hardware. And even we have to accept that we are having too much fun with the hardware. And with the more time we put into it and more work we put into it, we're of course expecting more. We said that vandalism would be OK, but it would not have been OK if the hardware stopped working and nobody from our team is doing this professionally. So we needed some interface to maintenance teams. So during the investigation we had an empty flat right next to the Forsakenflag and we had a control room there and we could look at the streams and intervene if the robot fell over. But we got the streams directly from the flat. So we additionally had to check if the streams arrived at the actual investigation station. And we had a camera dummy there. And just before it started we transformed it into a working camera. So we had an additional stream from the investigation station. So there we were, the surveillance critical artists and the hackers. It's so nice that this image shows what actually happened. So we were really entertained by the pictures and we commented about the users. And we were like gestürzt und alle zynisch, birds of prey and we were looking at stuff they are doing. And of course there was the wish to have more control. So we asked ourselves why we only had this one camera. Why don't we have a camera in the bar and why don't we take the audio as well. And we decided against it. And while we were working on the project with our means, there was a new project in Leipzig, where there was a camera with a special power solution. And the stuff was estimated to about 8000€. With more than a half of that we made the whole project. So that shows how low-tech this technology is. And we were working on the project, we didn't really look at the means we used. Even though we had artistic motivation, we made tools to make the whole opposite of what we actually wanted. Even the hacker team felt a little socially hacked by us. Because we as artists showed our intentions so clearly and so nicely, that they didn't really question our plans. So they were actually making surveillance software for us. And it's also a really dangerous point that we weren't so sure about. We as artists were instrumentalized, but we didn't really see that. On this congress I can stand here to ask something. In this area I can tell you openly about the project. Because the experiences we made on this project are really good. The artist is some kind of garden we are playing around. And we had some little scratches on our egos, but it wasn't really a big damage we made to society. And of course there wasn't much moaning about a project. So we can stand openly here and talk about that. And actually not only we make these assumptions, but also our users. In the beginning we planned to reconstruct the place a few days after. And this was a station we used. And we took a few objects from the flight. There was actually topics in the comments. And we made videos and just had some kind of discourse. And we wanted to make the discourse. And a few weeks after we closed the discussion forums. And some users were kind of surprised that they can use a joystick to drive through places. Even in the distance they wouldn't have thought it would be so easy to steer something from the back room of a bar. And someone really had fun with it. And he thought it was a computer game. And now he knew that this was real. He was really surprised, because he's a woodworker. And he was always really cautious about going around other places and to save the privacy of the customers. And he didn't really, you know, he was asking himself, it was so cautious as we were in this flat. But it was kind of like a filter. And he thought he was like going around with a chainsaw through the whole flat. Well, chainsaw might be a little accentuating. But with this little probe camera, they were maneuvering through the whole flat. It was like a small mass mission in the flat. And they were again showing a video on that. Where the rover is driving around and lighting the flat. Der Roboter fährt ja. Well, there's dust lying all around the flat and this robot is actually driving. So it's also a little covered in dust when he moves. By the way, I highly recommend watching the replay of this session if you're just listening to the audio stream because it's really nice to see those pictures of the flat where people are driving around with the rover. And the dust we see now, this is the dust coming from an Easter bouquet, standing around in this flat for 20 years on the living room desk. And in this rover drive, the driver actually knocked down the Easter bouquet. And before this, ja, keinerlei, also gab es eigentlich keinen Detail. There were no details in the flat that would actually lead people to a certain assumption. They had the association of some kind of criminal scene, crime scene. And there were just little changes we could do with technical devices. For example, like the rover, the probe, this Easter bouquet, some kind of waves in the carpets, some prints from shoes, and a dustbin in the kitchen. And to be honest, we've seen a few of the pictures. This was in the checkout phase. It was kind of difficult to track all these things down. There was a festival in Dresden last September. We concentrated on this so-called the investigation. These are pieces from the Flat Seven pieces and the robot that were kind of showcased in cases made of wood and glass. And they were kind of like a symbol of what you can see from the neighbor window. And we didn't really want to be a strike museum, but you can see, for example, the Easter bouquet, da war es falling down. And behind these boxes there was a projection. We already had even before the examination on online places, we had 360-degrees pictures with panoramic images from the Flat. And we made them before and afterwards to see how the changes happened and what changes happened. And we projected this behind these boxes. And that's what it looked like, basically. And it was dark in the Flat, so it's dark on the picture as well. And there was an interface, like a street view, where you had a complete 360-degree view of the Flat. And you can see the jump point, where you can have a closer look at the pictures. You know, it's already dark, you know, because of all these greens growing around the house. And there's a button on the left, where you can switch between before and after. And if you look at the desk in the living room, the chairs moved, for example. And the next thing is, there's little blue dots that you can see. These are common points. We were interested in how people read this exhibition and how do they read these little pieces. We didn't really want to remove pieces of our work there. And these people were on the festival and they could look at the real things we took from the Flat. With this digital representation of the Flat and to compare it with it. And they also had the chance to look through this digital representation and to read comments from other people and from the people who were there in the first examination of the Flat. And so, what kind of collective story would build around this Flat? How do people read this Flat by using this Google Apartment View? And this Google Apartment View was some kind of trick we did. We wanted to bring it closer to normal life. And yeah, well, there's a rover, but it's kind of Space Age. So this is a technology we're using, but we wanted to have a more simple view, a more known view, basically. And so, how do people think about this and what do they make of it? And that's what I want to make sure about using some comments. For example, this one from Olo from 2014. A nice oven, nice stove. There's Daddy's daughter. On the next day, she thought, oh, nice flowers. And there's a next comment. This is not a nice cupboard. So, we have three examples. And this is just like simple liking of the stuff they are seeing, like on Facebook. And there's some different people, different commenters, who look more closely. So, there's Dr. Watson. Vers 13.59 in vier Sekunden. Die Vase ist umgekippt. Kein Fenster ist auf. Jemand muss plötzlich aufstehen. The windows aren't open. Someone must have fallen down from cracking nuts. Dann, there's the next comment. Das Schlafzimmer. Oh, about the sleeping room. No, there's a lot of dots, so many people are discussing about it. And we might start on the left on the pillow. There's some Space Invader, Fake Cowboy is asking himself, whether you want to wake up at this point. And on the right side, from the red pillow, there's someone commenting with an answer. No, I want to die hier, on this pillow. Outside the leaves will, and while I'm doing my last breath. And then, again on the left pillow, there's a comment from Sausage. Vielleicht, maybe it's on the question from Space Invader before. And he asks himself, do you want to ask here? No, you've got a bad breath. Even like, only a bit ago, a bit later. From the same comment, even from Sausage. Ein Kommentar in Klammern ist Pfefferminz-Bomber. Is eating peppermint. Das haben wir auch recht oft und so findet abschließend das Dream Team. Also, Closing the Dream Team says, apparently two people were living here. So, we don't know if this is referencing Würstchen, Sausage, or Fake Invader, or is it talking about the two pillows. So, a very empathic comment can be found in the sleeping room or in the area just before that. Ich says, the poor person, he probably got under the ... probably had love problems. He probably jumped down the bridge. He didn't have many chances in his age. But after 20 years, it should be more dusty. We thought so as well, but it isn't. Und finally, someone finds this sticker in the kitchen. I love my home. Ja, senklich das Strich, gleich senklich das Strich, against and we yours. Und ob das jetzt wirklich eine empathische Nase kreiert? Oh ja, and it says, and we yours. Und, wenn das ein empathisches Lauf-Deklaration zu diesem Flatt ist, ist es wirklich questionabel. Ein Artprojekt, wie ours, natürlich wird es nicht scientific answer generieren. Wir können das nicht so sehr fragen. Aber natürlich haben wir uns auch starten, um dieses Flatt zu lieben. Aber als ein Ort, in dem wir reden können und die Erfahrung, ich hoffe, dass ich das transferieren könnte. Und hoffentlich sehen wir uns in der Q&A-Session. Wir werden sehr glücklich sein, dass Eva und die Leute von der Technologie-Team da sind. Und finally, wir liefen Klaus Chemnitz und Sable. Und vielen Dank für Ihre Unterstützung. So, wir haben jetzt noch ungefähr 12, 13 Minuten. 12, 12, 13 Minuten für Fragen. Wenn ihr welche habt, wenn ihr any questions, please go to the microphones. Microphone 3, bitte. Microphone 3. Hallo. Hello. Cooles Projekt. Nice project. I have two questions, one shorter, one a bit longer. Die kurze, die Seitenstangen auf dem Tisch, waren von euch oder die standen noch da? Were they from you or were they still there? They were still there. Ja, das ging auch gut. And the other question were they, well, people from that time there who maybe have experienced this flood before. At least we didn't see that from the comments. Some more older people from the neighborhood were there, but how we talked to the people was difficult in reaching a broader community. At least we didn't see it. Gut, dann Microphone 4, bitte. Wie habt ihr die Leute in der Bar zugebracht, in diesen Kontrollraum zu gehen? Make people in the bar go to the control room. You said you didn't really make advertisements. How did people get to the idea to go in there? It's a really simple trick. The bar is a, it's a back room and it's on the way to the toilet. Muss man dann durch diesen Raum durch? Also man erreicht diesen Raum, in dem man einfach durch den Flur geht und everybody will pass by on your way to the toilet. And there were other projects before ours there, so the bar is open and people of course talk to each other, so they. Gut, Microphone 1, bitte. I wanted to ask you what's the reason for not lighting the flat in our movies. Yeah, that would have been possible. Light would have been possible, but we wanted to minimize our impact on the flat. And we wanted to reflect on our first impression and even at day this flat is dark. So it was important that people could relive this. And the robot did have an infrared camera, but if we had used all the cameras with infrared, you could have seen the other cameras and that would have been wrong, because it wouldn't reflect on the... And did you find out what happened to the earlier tenant? Yeah, we did. We did. Yeah, we did actually research that a bit and for how long he's gone. And we do now nothing. We couldn't find anything. There's no information. And the people who lived there before, nobody knows anything. Gut, Microphone 1, bitte. In the exhibition you made after the searchings in the flat, did people had to choose between the two images? Did they also see the protocols that people left there? In this exhibition there were the videos, for example the video where the Easter Bouquet falls and of course its description and a split-screen video between the control room and what happened in the investigation room. Das konnte man sich erlesen. You could see it from the surroundings. Microphone 4, bitte. Did the earlier owner tell you why this flat was empty for 20 years? Yeah, that's exactly. Thank you for this question. It's very weird. It's not just some weirdness. Some flats are abandoned, but it needs some very specific political circumstances. So a thing like this, so it just stays like somebody just left over 10 of years. So it was a very special situation to Chemnitz after the Berlin Wall fell and the very few people asking for new flats in Chemnitz so very specific to the Chemnitz situation. So the former owner didn't reflect that. There was no decision. It was just kept like that. A question from the Internet. On the IRC is there a link to the Google View? No. To the apartment view there is no link. Just without reliving the original objects, that's not a question for us. We'll give a wrong illusion. Does the flat still look like before or is it empty now? No. The flat is just like after the investigation plus what we took out. The fourth point. Did you tell the people that they were surveilled? Yes, we told them. We didn't realize what happened with us. We didn't realize. We made video documentation and made some messages to everyone zu allen, die von allen gesehen werden können. Es gab eine Aufmerksamkeit und die Kamera war klar visibel. Die Kamera war originally planned to be a dummy, aber das ist nicht praktisch. Gibt es sonst noch weitere Fragen? Das ist eine andere Frage aus dem Internet. Was waren die Überwachen der Überwacher? Wie sah es mit dem Überwachen der Überwacher aus? Wie waren die Überwachen der Überwacher aus? Wir haben uns natürlich überwacht, dass es ein Kontrollraum war, aber wir filmen uns selbst. Es gab eine Kamera, die uns filmte. Aber es gab keine weiteren Personen hinter der Kamera. Es gab keine Live-Streams. Wir haben uns natürlich reflektiert. Das war meine Frage im Raum. Was hat es so besonders gemacht? Was hat es so besonders gemacht? Es war 20 Jahre alt. Man könnte das mit jedem Flatt tun, dass man sich selbst mit mehr interessanter und artistischer Sachen machen kann. Man kann mehr reflektieren. Ja, das ist möglich. Aber es wäre ein sehr anderer Projekt. Eine andere Sache über das 20-Jährige Abendenflatt war, dass es aus der Zeit war. Es war wichtig, es gab keine persönlichen Überwachen. Das ist warum wir die Mars-Mission als Symbol benutzen. Wir haben eine archäologische Mission gemacht, nicht nur die Nachbarnflatte. Es geht noch über, wie die wir mit technischen Wienersicherungen брäuchten. Wenn man eine Chance hat, dann würde passen. Aber es kann in anderen Bereichen passieren. Wie empathisch sind wir hier? Wie fühlen wir uns an? Wie fühlen wir uns an, wenn wir physicalistisch hier sind? Das freut mich. Ein Mikrofon, bitte. Das neue Owner des Flats, das ganze Projekt. Und ob er das eigentlich reflekt? Der Owner ist eine Unterstützung von vielen Menschen in Chemnitz. Wir konnten nicht wirklich von ihm die Antwort bekommen. Er kam zu uns und sagte, hier ist das Flats, du musst etwas Arten tun. Arten muss hier passieren. Wir haben ihn gefragt, wie du diese Konklusen kamst. Und er sagte, es war offensichtlich. Ich habe angefangen, ich habe mir einen Applaus gebrochen, ich finde auch, es ist viel Applaus wert. Ich habe interruptert über den Applaus, aber ich denke, es ist wertig, viel Applaus. Wir als Arten denken, hier muss es sein Arten, aber andere Menschen können nicht so reagieren. Wir waren froh, dass jemand auf den Applaus kam. Was habt ihr euch denn für Gedanken über die Gestaltung? Was habt ihr sich gedacht, über die Design der Kontrollraum, was die Menschen gesagt haben? Es war etwas wie ein Bewohnerkontrollraum. Wurde es eigentlich eine Veränderung? Ja, das soll eine Rolle spielen. Man kann sich fragen, was das ist. Wir haben versucht, es zu sehen, wie ein Arbeitsenvironment. Wir haben auch Kontrollräume von Power Plans und so, wie ein Beispiel. Es gibt eine sehr fähige Foto, in der Joan-Pilots trainiert werden. Das war ein wichtiges Referenz für uns. So, um ein Arbeitsenvironment zu kreieren, nicht ein Designbüro, aber wie wir so ein Kontrollraum imagine. Wir sind jetzt sehr froh, dass wir das alles zurückkehren können. Ist das nicht geplant? Nein, es ist nicht geplant. Eine weitere Frage aus dem Internet. Aus dem Internet? Aus der IRC. Wenn Sie sich noch daran erinnern können, was auf der Liebkuchen-Heart war. Viele Grüße aus einem Platz mit vier Lärchen. Ich erinnere mich nicht. Es gab so Situationen, wo dann ... Oh, wow! Jetzt habe ich die Chance, einen Blick auf diese Flasche zu haben. Überraschend nicht. Nein. Es war ein sehr interessantes Moment. Die Konnexion. Das könnte in meiner Nähe sein. Viele Leute haben es nicht realisiert. Es ist nur ein Monitor. Aber es könnte natürlich ... ein Raum von jemandem, der einen Moment zurückkehren könnte. Und die Leute sehen es, ohne es zu denken. Und das ... apparently ... Eine weitere Frage aus dem Internet. Wie lange saßen die Leute ungefähr vor dem Pult? Wie lange saßen die Leute vor dem Pult? Wie lange saßen die Leute vor dem Pult? Wie lange saßen die Leute vor dem Pult? Wie lange saßen die Leute vor dem Pult? Wie lange saßen dieimer Leute vor dem Pult? Wie lange saßen die Leute vor dem Pult? Zu dem ob dreamotic Internet, irgendwo mit daraus. Wie lange saßen die Leitzonen vor dem Pult? Ich viel übernehmen das es zu wissen, ob ich viel schon nix vermisse, anderte N elevation? Ich fühle mich schon, aber ich protege mich für die Bitte. Was ist das für ein Selbstverständnis? Was ist dein Selbstbild von dir als Artist und die Intention von deinem Arzt? Was ist das für die Erfahrung? Was ist dein eigenes Knowledge-Gang? Weil es nicht wirklich scientifisch ist, was du machst. Ist das eine Frage, die du yourself fragen solltest? Die Frage, was unsere Intention ist, ist natürlich wichtig. Also, sehr kurz, wir fühlen uns als Kontext-Artist. Und das bedeutet, dass wir nicht nur eine Frage als Skulptur besuchen, sondern auch für die technischen Mitteln, die dieses Projekt benutzen. Auch wenn wir das vorher nicht gemacht haben. Und es ist nicht so viel über die Art, die in einem Museum steht, das wäre vielleicht schön. Aber es ist mehr über die Diskussion, die Erfahrung, wie Menschen zusammen sprechen können. Und natürlich können wir uns missbehaben. Und das Textmarker, das ist komplett alright. Und das Station, das wäre toll. Aber was passiert, ist, dass eine Gruppe von Menschen, die das diskutieren können, und wir reden, wie wir das wollen. Und das ist sehr anders in einer realen Welt. Vielen Dank. So, das ist sogar über die Diskussion, was wir jetzt tun. Ja, natürlich. Das ist sehr wichtig. Gut, eine weitere Frage aus dem Internet. Die nächste Frage aus dem Internet, war es der Vandalismus oder der Thaft in der Exhibition? Wie gesagt, es war eine sehr interessante Situation. Wir waren sauvial, und daesipliert das, dass jemand die Textmarker stille. Also wollen wir das wissen? Keine Ahnung. Also wollen wir das wissen? Keine Ahnung. Und die Thaft ist natürlich nicht relevant. Aber wandalismus war keiner. Dann, da unsere Zeit fast abgelaufen ist, die letzte Frage, bitte. So, next, the last question. Ja, gab es in der Wohnung Hinweise? Were they hints on the identity of the previous owner, or have you looked for them in the flat? It might have been a little not so nice with this art. Yes, there were hints to the identity of the owner. And when you visit our website, we talk about the tenant as Mr. you, and we know more, so things that we won't tell you. There was letters with names and so on. But we looked at the streams, they couldn't look at that. And we made sure that the Zoom was locked to a place that people couldn't read. So, and this concludes. There's so much to do. Let's just leave. Thank you for listening in. If you have feedback to the translators, tweet at.