The revolution is over. Welcome to the afterglow.

29 January — 2 February 2014

The digital revolution was a dinner party but its afterglow is not. The once utopian promises of high-definition audiovisuals, real-time electronic communication and infinite storage possibilities are just some of the digital culture perspectives that are now widely disseminated. At the same time as these phenomena are still shrouded in the glossy aesthetics of the digital, their tarnished appeal cannot be denied in a world where 'big data' is also the 'big brother' of mass surveillance and where the 'cloud' is made of the metals and minerals of the 'earth' on which data centers are built. Far from immaterial and neutral, our post-digital culture is one where tech is deeply embedded in the geophysical and geopolitical. This is evident at the significant 'other sites' of digital culture such as e-waste dumps, mines, mass-digitisation companies and security agencies. transmediale 2014 proposes the post-digital moment of 'afterglow' as a diagnosis of the current status of the digital hovering between 'trash and treasure'. afterglow conjures up the ambivalent state of digital culture, where what seems to remain from the digital revolution is a paradoxical nostalgia for the futuristic high-tech it once promised us but that is now crumbling in our hands. The challenge that this moment poses is how to use that state of post-digital culture between trash and treasure as a still not overdetermined space from which to invent new speculative thought and practice. Are there means of renewal in the excess, overflow and waste products of the digital afterglow?

革命は終わった
ようこそ余韻の世界へ

2014年1 月 29 日 —2 月 2 日

Art Hack Day statement

As coders we fear the 'legacy' system, a piece of old junk we haven't yet figured out how to throw away. As artists, we're tempted by prolific outbursts of freshness and novelty; more art of less value. Businesses and government crave more data, more connections, more context. By embracing these impulses without contemplation we perpetuate the technological hype cycle and unintentionally shorten the half-life of our artefacts. Technology has become akin to a natural resource, generating physical and immaterial waste that is appropriated in such diverse contexts as e-garbage dumps, big data businesses and mass surveillance schemes. As such, trash is no longer what is just left behind but is central to our post-digital lives. When digital detritus piles up it decomposes, giving rise to a post-digital afterglow with the potential for new expression and new enterprise. Can we make peace with our excessive data flows and their inevitable obsolescence? Can we find nourishment in waste, overflow and excess? Can the afterglow of perpetual decay illuminate us?

アートハックデイ
宣言文

技術者は、様々な事情によって捨てることのできない古い技術や仕様、いわゆる「レガシー」システムに恐怖する。
アーティストは、新しいまたは珍しいものの出現によって、その本質性よりその目新しさに誘惑される。
ビジネスや政治は、データ、関連性、文脈、といった情報が多ければ多いほど喜ぶ。
そういった衝動にためらうことなく身を任せ、技術と表現の過剰評価や誇大告知が続くことで、意図せざる場所で生成物の消費期限が短くなる。
技術は天然資源と同じく、物理的で非物質的な廃棄物を生成する。その廃棄物は、デジタルのゴミ、ビッグデータ商売、大衆監視政策など、幅広い文脈に帰属することになり、後に残されたゴミ、ということだけでなく、ポストデジタル時代の生活の中核を形成していく。残骸が集積するとやがて分解が始まる。ポストデジタル時代の残像が新しい表現や活動の可能性と共に現れる。
我々は、過剰なデータフローとその避けられぬ退化に折り合いを付けることができるか？
氾濫する過剰なゴミの山から身になるものを探し出せるか？
永遠に続く腐敗の残像は、我々に灯火を照らしてくれるだろうか？

transmediale and Art Hack Day relation

The central exhibition afterglow is in line with this year's overall programme strategy of exhibiting only new or commissioned works. In a curatorial and organisational collaboration between transmediale and LEAP (Lab for Electronic Arts and Performance), the festival has invited internet-based non-profit Art Hack Day as a grassroots event/exhibit format/community for artists whose medium is tech and hackers whose medium is art.

What is Art Hack Day?

Art Hack Day is an internet-based nonprofit dedicated to hackers whose medium is art and artists whose medium is tech. We bridge the gap between art, technology and entrepreneurship with grassroots hackathons & exhibitions that demonstrate the expressive potential of new technology and the power of radical collaboration in art. We believe in non-utilitarian beauty through technology and its ability to affect social change for public good.

トランスメディアーレ
と
アートハックデイ

その場でコラボレーションの相手を捜し、わずか三日間で作品をつくりあげるという「アートハックデイ」。2014年の「トランスメディアーレ」の展示作品はこの「アートハックデイ」のルールに則って制作された。「トランスメディアーレ」の今年のテーマである『アフターグロウ』に、『新作あるいはコミッションワークのみの展示』という「アートハックデイ」の製作条件が加わり、さらに日本から招かれた「インターネット闇市」というイベントもひとつの作品として〝展示製作〟された。
トランスメディアーレとLEAP（Lab for Electronic Arts and Performance）の共同キュレーションと運営により、アートハックデイの、ルール、展示形式、コミュニティをそのまま招き入れたこのイベントには、技術をメディア化するアーティストとアートをメディア化するハッカーたちが、世界各国から招集された。

アートハックデイとは？

Art Hack Dayはインターネットという環境をベースに、アートをメディア化するハッカーと、技術をメディア化するアーティストのための、新たなコラボレーションの形を提示する非営利組織だ。草の根的なハッカソンと様々な形態で行われる展覧会によって、アート、技術、起業家精神の間に橋を架け、新しい技術と表現、過激なコラボレーションの可能性を提示する。
Art Hack Dayは非実用的な技術の美しさが、社会をこれまでにない方向に変えうる可能性を持つと信じている。

This book is documentation by participating artist Gento Matsumoto, following the Art Hack Day project in transmediale.

本書は、自身も作家として公式参加したBCCKS松本弦人が、「アートハックデイ」の三日間の製作現場を追ったドキュメントであり、その製作過程と本書そのものも「アートハックデイ」のひとつの参加作品として展示された。

── o r i e n t a t i o n ──


A r t　H a c k　D a y ──

── p r e p a r a t i o n ──


A r t　H a c k　D a y ──

── e x h i b i t i o n ──


A r t　H a c k　D a y ──

Back to Sender
Dani Ploeger + Jelili Atiku

In December 2013, the artists spent a week together in Lagos, Nigeria collecting electronic waste originating from Europe. The material was returned to Europe. Back to Sender prayers are a controversial practice among Christians in Nigeria, rooted in traditional Yoruba religion and medicine. The prayers are used to return evil to those who sent it to you.

untitled
Alma Alloro and Anthony Antonellis

Data Retention - Resurrection
Bengt Sjölén　Nicklas Marelius

10 kg From the New Factory
Sebastian Schmieg + Johannes P Osterhoff

Destructed hard drives from a Google datacenter in Belgium On raised floor with neon

Wertkorper
Geraldine Juárez

Performance party

PRISM: The Beacon Frame
Danja Vasiliev　Julian Oliver

Has-Been Trash Bin
Carl Emil Carlsen & Christian Villum (Science Friction)

Let's empty the trash and celebrate the has-beens, in all their nostalgic uselessness, let's spare them a moment of attention and contemplate how much has really changed.

Undefined
Jakob Bak　Priyanka Kodikal

Traces of audible trash lingers in the air as the afterglow overrides the cityscape. Undefined midibytes caught by the undefined device allows us to communicate with 'left over' art. As we travel through the exhibition space we transcend to discover a sonic cartography orchestrated by the madmatter in real time. We collect sonic memories of our electromagnetic conversations with the art work around us.

Honeypot
Robert Böhnke　Johan Uhle

In computing, a honeypot is used by security researchers to attract attacks in the wild. It is deliberately left insecure. We like to think of our personal electronic devices as secure. But recent revelations have shown, that they might be just as open as a honeypot, left insecure on purpose. All your devices are belong to whom?

Entinnern
Daniel Franke

As digital Information is in its sense not under the effect of entropy – it will remain unchanged last forever - immortal in a natural sense. But if we think of the natural process of dying as the movement and interplay of matter - it seems to be an important process for creating sth. new. Forgetting in a sense to constantly (by itself) loose information is no peculiarity of the digital. This needs to be actively done in a sense of the german "entinnern" - a forced loosing of information - a digital entropy. The work forces to for-get Data in process of printing a standart 3D testobject and 3D-scanning it - this process is repeated several times - information is lost.

In the highest in the best:
"Welcome to" post digital Afterglow
Rosa Menkman

In every Transmediale festival shit just get wacked. Stuff is used so often so damn much people don't even know what's going on. Transmediale B/Lingo. Bingo cards that expose the (evolving) vernacular of the Transmediale websites between 2009-2014. The keywords are derived from scraping and subsequently frequency-organizing terms.

Past, Present, Future Future Future
Andreas Fischer

exercice noise
Helga Wretman

Banality of Affect
Annie Goh　Paul Christoph

Measuring the moods of the Twitter feeds of the top 5 trance DJs and 5 top news feeds, this installation rectifies presumed emotional responses to our surrounding media. If the mood of the outside world worsens, the trance music and visuals get more "euphoric". If the outside world is doing OK, the trance music and visuals dare to get deeper and more melancholic.

BbB Bit by Bit
Justin Blinder and Benjamin Gaulon

Bit by Bit
BbB is a cloud shrinking service for digital waste and data recycling. During Art Hack Day BbB will be presented as a network performance and installation displaying the latest pastebin* uploads, while at the same time, requesting for the content to be removed by sending automatic cease and desist emails. Each file displayed is visible for the last time at Transmediale 2014 and projected onto light sensitive surface leaving an afterglow for a short amount of time. During the festival BbB will help bit-by-bit reducing the data accumulated on the internet.

Elephants' Graveyard
Wolfgang Spahn

160 analog pictures (taken in the last 5 years) of abandoned ewaste in Berlin's streets.

Verflüssigtes Gestänge
Jana Linke　Katrin Caspar

The after of now always exists.
Constantly reshaping. Movement now. The solid framework gets liquefied by light in motion.

Circe's New Equipment
Nancy Mauro-Flude　Emma Bugg

Assemblage of paraphernalia. Presented as if it is an altar, although not to worship, but to contemplate the wreckage - the sacrificial destruction of utility, the drives, forms and structures, the exuberance and vertigo that embrace both the human and non-human orders.

exonemo.com/fireplace
exonemo, Internet dude, copy-paste

Once upon a time, the hearth was the heart of the home. Then the TV took its place, then the computer. This too will pass. We propose a bonfire for all of the keyboards, mouses, we're leaving behind, going into "smart appliances": A new fireplace to warm our restless souls.

Discontent.us
Igal Nassima & AHD

A collection of Digital Trash from Art Hack Day participants, analyzed, parsed and dumped. Available for sale.

Launchpad
Philipp Ronnenberg

The project explores how uncanny methods, usually used by hackers with criminal intend, could be opened up and democratized. Launchpad proposes a legal botnet which is capable to perform DDoS attacks over the Internet. The whole process of attacking a website is achieved with a network of devices run by the users of the network in their homes. These Internet enabled devices a ready to plug & play a DDoS attack and actively contribute to a protest from the living room.

Mobile mining: “I wont’ give you my mobile phone - there’s too much gold in it!”
Nicklas Marelius　Kristina Lindström　Åsa Ståhl

The mobile mining at Transmediale is one instantiation of the mining for liveable lives that take place around the world by: Immigrants without documents in Spain; chemicals; bacterias; mining companies that have exchanged underground mining for e-waste and domestic entrepreneurs that try to make a fortune out of their own trashed mobile devices.

Laid to REST
Quin Kennedy

Dead links are purged from the cloud, in memoriam, on a continuous scroll.

Mind Your Own Dizziness
Budhaditya Chattopadhyay

Creates a set of ‘object-disoriented’ auditory situations that trigger thoughts within mindfulness of a wandering listener. These thoughts (con)textualize the pervasive interaction with these immersive but evanescent auditory situations that the listener comes across at the site of Art Hack Day Berlin at HKW.

Human Cursor
Akihiko Taniguchi　Laura Wadden
Shunya Hagiwara　Rachel Uwa

We choose the cursor's every move, but how much choice do we really have? Human Cursor explores our connection and interaction with the Web. When you find yourself inside the computer screen, in the "flesh," would it change your behaviour or how you feel while surfing?

Septic v1.0 (working title)
Marco Donnarumma　Baptiste Caramiaux

A computer filled with digital viruses "infects" human bodies by literally transducing those viruses into infrasounds and low frequencies sounds that resonate the visitor's bones and skull by means of high-power mechanical vibrations. A video monitor shows the surrounding visitors the virus data as it is being transmitted into the new host body.

Mining the Arbitrary
Jens U Jørgensen + Rosemary Lee

In the light of the anthropocene, even substances such as water, snow, stone, and Earth bear evidence of the effects of humanity. Collecting, inventorying, and analyzing samples of various substances sourced in Berlin, we begin to unearth the cumulative production of waste information and materials.

Field Sweeper Inc.
Sabrina Basten　Audrey Samson {Roger10-4}

Field Sweeper Inc. detects and makes audible electro-magnetic fields. Through mountains of electronic waste the field sweeper suit enables the scavenger to find the last bit of surviving electronics in an absurd meandering listening for the last peeps of these devices.

Transmoji
Kim Asendorf + Ole Fach

Jobless Avatars / The real curriculum
Sašo Sedlaček

http://bccks.jp/bcck/119821/

Avatars just like people get jobless too, many of these speaking characters, virtual representatives and our alter egos are patiently waiting for someone to employ them, waiting until they either get a job or get outdated and trashed. I took few of these text to speech avatars and used them to tell the truth behind searching for a job, the truth behind the job applications. What do we do when applying for a job? We tell little lies about ourselves to fit in to the high requirements of the applications. We usually say all the best we can think about ourselves to get it. Our job applications are a sort of lying interfaces. Our virtual identities can provide us with the safety where we can tell lies, but also the truth. And these avatars are telling it. They are telling the real curriculums. Admitting that we are also lazy, not cooperative, inpatient, intolerant, have mental, alcoholic and drug problems, are badly educated and that we hate authorities. People are just like technology replaceable. People get replaced with youngsters and technology gets replaced with a new versions and new technological paradigms.

Urban Mine
Yuko Mohri

I made a diorama, imagining our lives, and the energy that we consume, being rooted deep down in mines of recycled junk. We're living illuminated by the glow of trash from previous times. We'll always on one side or the other of the afterglow.

BABEL
Mario de Vega　Victor Mazon

Remains of an animal killed by a human are exhibited on a pedestal. A battery powered circuit board receives EM activity. The system is modular and the output exponential.

Präparat
Tina Tonagel

A toaster-skeleton gets hot and cools down in a breathing rhythm. The transformation / movement of the glowing heating-wire is very subtle, but visible and produces tiny little sound.

Hypno
Forrest Oliphant, Kawandeep Virdee

Surveillance methods include recording and processing people's faces. Hypno represents an abstraction and manipulation of facial detection.

PrintCade
Jonah Brucker-Cohen & Michael Ang

Printcade is a interactive installation that uses joysticks from the 80s to control dead printers and generate sound. The codead technology is reanimated in colorful 80s style!

S.M.S: Smoke Messaging Service
Dennis De Bel

S.M.S. or Smoke Messaging Service, takes your device to the next level. Based on millennia of experience this iPhone hardware addon offers you safe, long distance, visual communication for free!

Detective Camera
Niko Princen

Video documentation of participants of Art Hack Day singing the song "Detective Camera"

Polypalimpsestinator 2
Hannes Hoelzl　Alberto de Campo

A needle cuts grooves into a rotating candle, recording sound; a laser and diode read the sound; a moving tea light heats the candle and gradually erases the recorded grooves. This is part two in a series of recording devices that complete the memory cycle by remembering to forget.

MOST POWERFUL ART PIECE
Jacob Sikker Remin　Jeremy Bailey　David Gauthier

Measuring the power use of each art piece installed at art hack day, a high score list will be compiled. once the MOST POWERFUL ART PIECE is found, a celebration will be held. only the the MOST POWERFUL ART PIECE will receive a prize.

Humanum Unknown Error
Amir Tanne　Tsila Hassine (missdata)

How many times have you been put through a CAPTCHA "human or machine" reverse Turing test? With the rapid progress in artificial intelligence, we can no longer be sure of the human qualities of the entities that surround us. It's time to take the test back.

strong arm
Tomoya Watanabe

Please find a nice stone and bring it into the exhibition. I'll digitize it, and assign it an IP address. Why is it that something as simple and pleasurable as throwing stones wasn't possible until now on the internet?

#ddosnowball (Distributed Delivery of Snowballs)
Bernhard Garnicnig

"When the internet of things might feel a bit cold." With drones (UAVs) slowly taking over the sky above our heads and homes, a ubiquitous fear of sneak attacks out of the blue is not just a sign of paranoia anymore. #ddosnowball shows how social media will interact with the physical world in the future. Tweet your frenemy with the hashtag #ddosnowball and an irrevocable snowball attack is on its way.

TBD
Fabien Artal　Jan Berkel

Exploring the afterglow of berlin's ever-changing geography with a visualization+sonification.

Artificial Out of Body experience
Marcel Schwittlick

After the Digital Breakdown and the collapse of our digital infrastructure we need to find clarity again. We need to find a way back to reality by using what we're left with: Technology.

Pong With Fruits
Emilie Gervais

Idem

Parked Domain Gallery
Olof Mathé, Paul Christoph
& Art Hack Day participants

Thank you Basedworld
Arthur Tres

Cook with Lil B and bring humanity to the Based afterglow.

Anmerkung & Buch
Gento Matsumoto

── internet yami-ichi ──


i n　t r a n s m e d i a l e ──

An art project to buy and sell Internet-related products and services directly in actual space, the Internet Yami-ichi was developed by exhibiting artist collective IDPW, known for their experimental Internet culture creativity. It has been held twice so far in Tokyo. A flea-market like event which brings creators, artists, programmers, and others together. It represents an old and new way to create the products, services and communities we typically find on-line. This popular gathering will be one of transmediale 2014's closing events.

『インターネットヤミ市』とは、「インターネットに関するものを直接売買する」ことをコンセプトに、出展作家であるIDPWが企画し、これまでに東京で２回にわたって開催されてきたイベントである。クリエイターやアーティスト、プログラマーなどが、インターネットにまつわる品々を持ち寄ったり、その場で創作活動を繰り広げるフリーマーケットのようなイベントからは、データ流通や販売の新しい在り方までが見えてくる。インターネットをモチーフにした実験的な試みや活動、作品制作を行うIDPWの注目の企画を、今回は「トランスメディアーレ 2014」のクロージングイベントとして開催する。

── organization ──


t r a n s m e d i a l e ──

transmediale overview

Transmediale is a Berlin-based festival and year-round project that draws out new connections between art, culture and technology. The activities of transmediale aim at fostering a critical understanding of contemporary culture and politics as saturated by media technologies. In the course of its 27 year history, the annual transmediale festival has turned into an essential event in the calendar of media art professionals, artists, activists and students from all over the world. The broad cultural appeal of the festival is recognised by the German federal government who supports the transmediale through its programme for beacons of contemporary culture.

transmediale概要

トランスメディアーレはベルリンで開催されるアート・文化・技術のフェスティバルです。活動の目標は、飽和状態にある現代の文化や政治に対し、メディア技術によって批評的な姿勢を促すことにあります。1988年に始まったトランスメディアーレは、メディアアートに関る人々はもちろん、今では世界中のアーティスト、活動家や学生にとって最重要なフェスティバルの一つになっています。その幅広い文化的訴求力が認められ、ドイツ連邦政府もこのプログラムを助成しています。

History of transmediale

transmediale was founded in 1988 as VideoFilmFest, a side-project of the Berlin Berlinale's International Forum of New Cinema with the intention to offer a platform to electronic media productions not accepted at traditional film festivals such as the Berlinale. Within the following 20 years, the festival steadily evolved: in 1997/98 it changed its name from 'VideoFest' to 'transmediale' in order to reflect upon the festival's expanding programme which now embraced a wide spectrum of multimedia-based art forms. In 1999 club transmediale was founded. Focusing primarily on electronic music and club culture, it is organised by a curatorially and financially independent team.

In 2001, transmediale was restructured. The relocation of the festival to the House of World Cultures and a further expanded programme lead to increasing numbers of visitors to the festival. At transmediale.02, for the first time, an extensive exhibition was presented to the audience, allowing attendees to experience media art spatially. In 2006,


the subtitle of the festival changed from internationalmedia art festival to festival for art and digital culture, opening up the festival to not just pure media art but also to projects where art, technology and the digital age meet the everyday. The opening of the festival is further reflected in the extension of the transmediale Award with the Vilém Flusser Theory Award, as a reaction to a growing number of theoretical and critical works submitted for the competition. In April 2011, Kristoffer Gansing was appointed as the new artistic director of the festival. In 2012, the festival celebrated its 25 year anniversary with a programme looking back to the past while redefining what it could be in the future. In this year, The Vilém Flusser Theory Award was transformed into a residency programme for artistic research. The other awards were cancelled in a move to redefine the logic of the festival programming. A new platform called the reSource for transmedial culture was initiated, an all-year platform of distributed projects for transmediale's local and trans-local community.

トランスメディアーレ沿革

トランスメディアーレは、ベルリン国際映画祭ニューシネマ部門の企画として、1988年にVideoFilmFestという名前でスタートした。既存の映画祭の枠に収まらない電子メディア作品を紹介する場を設けることが目的であった。続く20年間でフェスティバルは着々と進化。1997/98年に、マルチメディア作品の盛り上がりを反映して、VideoFestからトランスメディアーレに改名し、1999年には電子音楽やクラブカルチャーに焦点を絞ったクラブ・トランスメディアーレが始まった。クラブ・トランスメディアーレは、トランスメディアーレ本体から独立したチームがキュレーションや運営を行っている。

2001年に再編があり、会場を世界文化の家に移し、プログラムを拡張。来場者の拡大に繋がった。トランスメディアーレ02で初めて、メディアアートの展示を開始。2006年には、フェスティバル副題を「メディアアートの国際フェスティバル」から「アートとデジタル文化のフェスティバル」に変更。メディアアートだけでなく、日常におけるアート、技術、デジタルの作品へと対象を拡大した。また、コンペに理論や批評での参加が増えたことから、ヴィレム・フルッサー理論賞を増設。2011年よりクリストファー・ガンシングがディレクターに就任。2012年にはトランスメディアーレ25周年を記念し、歴史を振り返ると共に未来を予見したプログラムを企画した。2013年のトランスメディアーレでは、プログラム見直しにより、ヴィレム・フルッサー理論賞はレジデンスプログラムに形を変え、その他の賞は廃止された。また新たに、reSourceというトランスメディアーレのコミュニティーを結ぶ通年プラットフォームが設立されている。

s t a f f c r e d i t

Artistic Director: Kristoffer Gansing
アーティスティック・ディレクター：クリストファー・ガンシング

Festival Manager: Markus Huber
フェスティバル・マネージャー：マーカス・フーバー

Programme Curators: Tatiana Bazzichelli, Marcel Schwierin
プログラム・キュレーター：タチアナ・バジチェリ、マルセル・シュウェリン

Conference Programme Chairs: Tatiana Bazzichelli, Ryan Bishop, Katrien Jacobs, Francesco Macarone Palmieri, Jussi Parikka
会議プログラム責任：タチアナ・バジチェリ、ライアン・ビショップ、カトリエン・ヤコブス、フランチェスコ・マカロン・パルミエリ、ジュッシ・パリッカ

Project Managers: Inga Seidler, Daniela Silvestrin
プロジェクト・マネージャー：インガ・シードラー、ダニエラ・シルヴェストリン

Programme Assistants: Christl Baur, Linnea Kotiniemi, Elena Mantoni, Konstantinos Stergiopoulos, Vena Ward, Mariana Ziku
プログラム・アシスタント：クリストル・バウア、リネア・コティニエミ、エレナ・マントーニ、コンスタンティノス・ステルジオポウロス、ヴェナ・ワード、マリアナ・ジク

Production Manager: Sibylle Kerlisch
制作マネージャー：シビル・ケーリッシュ

Technical Director: Phillip Sünderhauf
技術ディレクター：フィリップ・スーンデーホーフ


Administration
トランズメディアーレ運営

Administrative Manager & Finance: Katharina Gratzl-Karnitschnig
運営マネージャー＆経理：カタリーナ・グラツル=カーニシュニグ

Administration Assistance and Fundraising: Susanne Bernstein
運営アシスタント＆資金調達：スザンヌ・バーンスタイン

Guest Management: Christine Bernauer
ゲスト・マネジメント：クリスティーン・バーノー

Guest Services: Sanga Lenz
ゲスト・サービス：サンガ・レンズ


Communication
トランズメディアーレ広報

Marketing and Communications Manager: Filippo Gianetta
マーケティング＆広報マネージャー：フリッポ・ジャネッタ

Editorial Coordinator: Lina Zuppke
編集コーディネーター：リナ・ズッケ

Press Manager: Tabea Hamperl
プレス・マネージャー：タベア・ハンパール

Infocounter Management: Anja Faltin
インフォメーション・カウンター・マネージャー：アーニャ・ファルティン

Press & Communications: Emma Hovi, Lena Diekmann
プレス＆広報：エマ・ホヴィ、リナ・ディークマン

Documentation: Alysse Kushinski
記録：アリーズ・クシンスキ


transmediale/reSource
トランズメディアーレ／リ・ソーズ

Curator and Programme Developer: Tatiana Bazzichelli
キュレーター＆プログラム開発：タチアナ・バジチェリ

Project Management: Daniela Silvestrin
プロジェクト管理：ダニエラ・シルヴェストリン

Assistant: Spyros Acheimastos
アシスタント：スピロス・アケイマストス


transmediale/archive
トランズメディアーレ／アーカイブ

Research: Baruch Gottlieb
リサーチ：バルシュ・ゴットリーブ

Technical Support: serve-u (Phillip Sünderhauf, Andreas Buchholz, Marc Klische)
技術サポート：serve-u（フィリップ・スーンダーホーフ、アンドレアス・ブチホルズ、マーク・クリシェ）


Festival Graphic Design
グラフィック・デザイン

The Laboratory of Manuel Bürger: Manuel Bürger, Timm Häneke, Caroline Wolewinski
フェスティバル・グラフィック・デザイン：マヌエル・ブーゲー・ラボ（マヌエル・ブーゲー、ティム・ハネケ、カロリン・ウォレウィンスキ）


Festival Architecture
トランズメディアーレ施工

raumlaborberlin: Andrea Hofmann, Markus Bader, with Claire Mothais, Winnie Westerlund
raumlaborberlin（アンドレア・ホフマン、マーカス・ベーダー）、クレア・モタイス、ウィニー・ウェスタールンド


Website Development
トランズメディアーレウェブ開発

einskommanull: Sebastian Göbel, Laura Oldenbourg, Michael Scharnagl
einskommanull（セバスチャン・ゴーベル、ラウラ・オルデンボーグ、ミカエル・シャーナル）

Advisory board: Alex Adriaansens, Prof. Dr. Marie-Luise Angerer, Inke Arns, Prof. Dr. Dieter Daniels, Moritz von Dülmen, Jan Edler, Micz Flor, Hortensia Völckers
実行委員相談役会：アレックス・アドリアンセン、マリー=ルイーズ・アンゲラー博士、インケ・アーンズ、ディエター・ダニエルズ博士、モリッツ・フォン・ドゥルメン、ヤン・エルダー、ミクズ・フロル、ホルテンシア・ヴォルッケルス