BEGIN:VCALENDAR VERSION:2.0 PRODID:-//theGATE - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:theGATE X-ORIGINAL-URL:https://thegate-festival.com/es X-WR-CALDESC:Eventos para theGATE REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Helsinki BEGIN:DAYLIGHT TZOFFSETFROM:+0200 TZOFFSETTO:+0300 TZNAME:EEST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0300 TZOFFSETTO:+0200 TZNAME:EET DTSTART:20251026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0200 TZOFFSETTO:+0300 TZNAME:EEST DTSTART:20260329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0300 TZOFFSETTO:+0200 TZNAME:EET DTSTART:20261025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0200 TZOFFSETTO:+0300 TZNAME:EEST DTSTART:20270328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0300 TZOFFSETTO:+0200 TZNAME:EET DTSTART:20271031T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20260518 DTEND;VALUE=DATE:20260523 DTSTAMP:20260429T073522 CREATED:20251126T104134Z LAST-MODIFIED:20260428T143457Z UID:23684-1779062400-1779494399@thegate-festival.com SUMMARY:eCulture Convention DESCRIPTION:eCulture CONVENTION 2026\nTHE CONVENTION IS A PLATFORM FOR EXPERTS FROM THE CULTURE AND CREATIVE INDUSTRIES TO DISCUSS NEW DEVELOPMENTS IN ART\, CULTURE AND ECONOMY\nFormat \nPanels with multidisciplinary experts and stakeholder to introduce strategic concepts and mission for the current Research and Innovation ecosystem and the overall society – 45 min. \nRegister \nRegistration for the eCulture Convention is mandatory. \nDate \n18-22 may\, 2026 \nLocation \nHLRS | Stuttgart \n REGISTER \nThis professional event promotes debate\, discussion and reflection on the challenges and opportunities in the confluence of art\, science\, technology and society as a key driver to face and envision the future. Leading international figures from disciplines such as science\, artificial intelligence\, creative economy\, quantum computing\, the humanities and art will participate in the event\, proposing meeting points between disciplines. \nFORMATS\nPanels with multidisciplinary experts and stakeholder to introduce strategic concepts and mission for the current Research and Innovation ecosystem and the overall society – 45 min. \nInteractive and participatory Messy Studios – format with tables and one moderator\, continue the discussion about the topic\, create momentum\, connections and take decisions between people and organisations about the role of multidisciplinary art\, science\, technology and society R+D+I ecosystems\, in shaping the future of Europe. \nPRELIMINARY programme (to be completed):\n Day 1 | 18 – May \nWelcome to theGATE\n15:00 – Doors Open \n16:00 – Welcome SpeechesModerated by Andrea Seehusen\, IAM Art Advisor \nProf. Dr. Michael Resch\, Director HLRSMatthias Hauser\, Head of the Department Culture & Creative Industries HLRS\, CCO MSC \n16:15 – Keynote: „The Universe is Computing“Prof. Dr. Michael Resch\, Director HLRS \n16:45 – Keynote: „HPC and AI Factory HammerHAI“ \nDr. Ing. Bastian Koller\, CEO HLRS 17:15 – Keynote: “Quantum phenomena/Art and Quantum”Prof. Dr. Tommaso Calarco\, Director\, Institute for Quantum Control PGI-8 18:00 – 21:00theGATE Festival ExhibitionOptional: Guided tour of the Supercomputing Room + Immersive CAVE System \n Day 2 | 19 – May \nShaping the digital humanities: Computational cultures in transition\n10:00 – Keynote: “Threads & Rifts – Making Sense of Computational Culture”Peter Friess\, Senior official of the European Commission at DG CONNECT and the STARTS11:00 – Messy Studio: “Threads & Rifts: Making Sense of Computational Culture”Moderated by Peter Friess\, with input from: \n\n\n\nMichael Resch\, HLRS\nAlistair Hudson\, ZKM Karlsruhe\nFco. Javier Iglesias Garcia\, Fundacion Epica La Fura Dels Baus\nAlexander Mankowsky\nVittorio Loreto\, Sony CSL\n\n\n\n12:30 – Lunch  \n14:00 – 14:45 – Keynote:“Art and Algorithm: Research Summary (2021–2024)“Marcos Cuzziol\, University São Paulo \n14:45- 15:45 – Panel:“AI or IC? Artificial intelligence or intelligent culture? Exploring the significance and interconnections of digital and cultural sovereignty“ \n\n\n\nSven Meyer\, State Theatre Stuttgart\nMatthias Pfeffer\, Council for European Public Space\nMarkus Korselt\, Stuttgart Chamber Orchestra\n\n\n\n16:00 – 16:30 – Keynote:“Theatre in Public Spaces“Lokstoff Stuttgart Theatre Group in Public Spaces \n16:30 – 17:15 – Panel: “Performance Art & Technology & Research and Society”Moderated by: Sven Meyer\, State Theatre Stuttgart. Panelists:  \n\n\n\nMauricio Valdes\, PiNA / HEKA Lab\nAlessandro Londei\, Sony CSL\nFco. Javier Iglesias Garcia\, Fundacion Epica La Fura Dels Baus\n\n\n\n17:15 – Keynote:“Stuttgart Moving Image Center“Lars Henrik Gass\, SMIC (f.k.a. House of Film & Media) \n18:00 – 21:00 \ntheGATE Festival Exhibition \n Day 3 | 20 – May \nAR2B – ARTISTIC RESEARCH TO BUSINESS\nAR2B – Artistic Research to Business aims to bridge the gap between artistic inquiry and real-world innovation – turning research-driven creativity into future business applications. By connecting artists\, researchers\, creative intermediaries\, and AI pioneers across Europe\, AR2B invites innovation leaders to experience how artistic research can create social and economic value and to discover how artistic intelligence is reshaping the future of AI infrastructure – in showcases\, high-level panels\, and hands-on exchange. \n10:00 – Impulse & Exchange: “Meet the EIT Culture & Creativity” \n\nAnette Schäfer (CEO\, EIT Culture & Creativity)\nAlexander Diesenreiter  (Business Development Manager\, EIT Culture & Creativity) \nRolf Hughes (Education Director\, EIT Culture & Creativity) \n\n11:30 – Panel: “Building the Ground for AR2B: Creative Innovation Alliances with MSC – Media Solution Center and ICE Germany – Innovation by Creative Economy” (DE) \nModerated by Anna Christmann (SAI Europe) \n  \n\nAndreas Wierse\, MSC/ Siccos\nEgbert Rühl\, ICE/ Kreativgesellschaft Hamburg\nJens Krzywinski\, ICE/ TU Dresden\nLina Longhitano\, MSC/ HLRS\nMichael Zyder\, NXTGN\n\n12:30 – Lunch \n14:00 – Panel: “Advantage Europe: How Artistic Research Shapes Next-Gen AI Infrastructure” \nModerated by: Claudia Jericho (MSC) & Rolf Hughes (Education Director\, EIT Culture & Creativity)  \n\nAli Hossaini\, King’s College London / IEEE – Institute of Electrical and Electronics Engineers\nAnette Schäfer\, EIT Culture & Creativity\nDavid Crombie\, University of the Arts Utrecht\nMichael Schwab\, SAR – Society for Artistic Research  / JAR – Journal for Artistic Research\n\n15:45 – Keynote: “How Ars Electronica drives AR2B”Veronika Liebl\, Ars Electronica  \n16:15 – Presentations & Exchange: “From AR to AI: Artistic Intelligence in Practice” \nModerated by: Rolf Hughes (Education Director\, EIT Culture & Creativity) & Claudia Jericho (MSC)  \n  \n\nFranco Ripa di Meana\, Accademia di Belle Arti di Roma\nGwendolin Kremer\, TUD Dresden University of Technology\nJohanna Bruckner\, Lucerne University of Design\, Film & Art / University of Applied Sciences Vorarlberg\nMatthias Stroezel\, SSC Services GmbH\n\n18:00 – 21:00theGATE Festival Exhibition \n Day 4 | 21 – May \nWhen the Invisible Speaks: Art\, Science & the Frontiers of the Real\nReality is microscopic. Human perception is not. In aproahcing this central tension posed by quantum physics we should not (always) trust common sense. The panel will  explore how art\, science\, and technology can approach this tension. \n10:00 – Setting the Stage:Ralph Dum\, How can physics inspire art? How can art inspire physics? \n\n\n\nThe Lab as Studio — The Studio as Lab:How do you visualise phenomena that are\, by definition\, impossible to see — phenomena that contradict our very understanding of the world?\nEveline Domnitch\, Dmitry Gelfand\, and Robert Loew present works — among them Camera Lucida and Force Field — that don’t simply lllustrate physics\, but make it a sensory experience. They show how the interior life of a laboratory can become an artistic atelier.\nKarl Jansen follows with a scientist’s perspective on the deep links between research and artistic practice at DESY\, one of Europe’s leading particle physics centres.\n\n\n\nInstitutional perspectivesHow institutions are constructing bridges between science and art structurally. \n\n\n\nBettina Kames (LAS Foundation) presents how quantum phenomena have become a central theme in LAS installations over the past years.\nMartin Rauchbauer (Austrian Ministry of Foreign Affairs) introduces a pioneering ministry initiative connecting artistic residencies with quantum research.\n\n\n\n11:15 – Break \n11:30 – Institutional perspectives continued \nAll speakers join a closing panel moderated by Ralph Dum. \nGiulia Bini is sharing how CERN is actively embedding artistic practice into hard science environments.Panel : How can art and science engage in genuine dialogue — and to what end? What type of instruments are best suited to move such a dialogue forward? \n12:30 – Lunch \n14:00 – Panel: “Technological and political sovereignty”Moderated by Prof. Dr. Andreas Kaminski  \n\n\n\nProf. Dr. Marcus Düwell\, TU Darmstadt\nPan Dixon\, World Privacy Forum\nSrđan Prodanović\, Institute for Philosophy and Social Theory\nZeljko Radinkovic\, Institute for Philosophy and Social Theory\n\n\n\n16:00 – “AI – African Intelligence” \n\nWelcome & Diagnostic\n\nRalph Dum\n\n\nThe Artistic POV\n\nHadassa Ngamba\, Artist\nDr. Uwe Wössner\, HLRS\n\n\nThe Philosophical & Technical POV\n\nVittorio Loreto\, Sony CSL\nProf. Dr. Andreas Kaminski\, TU Darmstadt\n\n\nThe Politics of Access: Towards Digital Sovereignty\n\nDarius Bamwene Solo\, Université Joseph Kasa-Vubu\, Boma\, DRC\nMartin Rauchbauer\, Austrian Foreign Ministry\n\n\n\n 18:00 – 21:00theGATE Festival ExhibitionIncluding a special performance: “African Intelligence” by Hadassa Ngamba \n Day 5 | 22 – May \ntheGATE 2027-2028\ntheGATE 2027 – ALL INIn conversation with Matthias Hauser\, Michael Resch and Bastian Koller \ntheGATE Festival Exhibition \n REGISTER URL:https://thegate-festival.com/es/event/eculture-convention/ LOCATION:HLRS – Stuttgart\, Germany CATEGORIES:Convention END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20260518 DTEND;VALUE=DATE:20260523 DTSTAMP:20260429T073522 CREATED:20251126T123605Z LAST-MODIFIED:20260423T050830Z UID:23771-1779062400-1779494399@thegate-festival.com SUMMARY:theGATE Festival 2026 DESCRIPTION:theGATE Festival\nNever before has art been so close to science as it is now in the electronic age\nFormat \nExhibitionInstallationPerformance  \nDate \n18-22 may\, 2026 \nLocation \nHLRS | Stuttgart \n REGISTER\n https://vimeo.com/1139261746 \nNever before has art been so close to science as it is now in the electronic age. Researchers at supercomputing centres\, universities and companies alike have been collaborating with artists through programs like S+T+ARTS and reaping the rewards for many years now. This festival exhibition pulls back the curtains on this unique mode of collaboration and the art-driven innovation it contributes to. \nAt the same time\, art finds itself increasingly estranged from its traditional media\, spaces and institutions. Computing technologies do not merely extend existing practices; they reconfigure how art relates to life and what art can be. \nThere is a new conception of humanity and nature–  and the changes are coming fast \n…We must be prepared for the transformations that lie ahead\,…We must systematically map and research current practices and trajectories\,…We must examine what artists are proposing as forms of cultural experimentation\,…We must track what scientists and engineers are advancing technically and epistemically\,…We must assess which artistic practices hold social relevance and civic potential\,…We must engage with philosophical inquiry about the ethical and conceptual ramifications \nExhibited Projects\n \nVR-Terroir\nby Bernat Cuní \nThe project\nBernat Cuní’s residency focuses on challenging the rampant standardization of digital culture by creating hyperlocal avatars that absorb and are shaped by their environments\, carrying their “lived experiences” like terroir. The objective is to visualize how context—including data\, textures\, and local inputs—can alter a digital identity. The work involves creating synthetic 3D materials from image inputs and extracting material qualities from HLRS’s scientific simulation visualizations. The artist is prototyping a behavioral pipeline where a 3D mesh is affected by different material properties based on proximity\, moving towards designing a minimum-viable-avatar mesh with a defined movement system. \nThe artist\nBernat Cuní is an artist who explores the digitization of objects and spaces by blending code\, crafts\, and robotics\, focusing on emerging technologies through a post-capitalist lens. Although he began as an industrial designer in 1999\, he later shifted toward research-based design focused on people\, citing disillusionment with the consumerist nature of producing physical goods. \n \nLooping\nby Oliver Kruse \nThe project\nOliver Kruse is undertaking the looping project\, which involves translating the aerodynamic morphology of the maple tree’s flying fruit into a structurally and aerodynamically refined large-scale flying sculpture. The physical artwork is planned to be an aluminum aircraft construction\, measuring 6 meters in length\, analogous to the size of an airplane wing. The artistic research utilizes collaboration with HLRS for aerodynamic simulation and parametric design exploration to digitally forecast the object’s flight behavior. The project involves prototyping and making three-dimensional models in various materials\, as well as developing video and drawing work\, as well as a “flight day” to test at least 20 objects\, examining how long they can be kept airborne and testing remote-controlled flight. \nThe artist\nOliver Kruse is a visual artist whose multidisciplinary work is inspired by architecture\, geometries\, and spatial environments\, encompassing both constructed and natural settings. His recent practice\, which includes large-scale urban sculpture and site-specific digitally generated projects\, explores the intersections of art\, nature\, and architecture\, challenging the traditional division between sculpture and architecture. A key element of his work is the critical investigation of virtual constructions\, where existing forms are digitally reconstructed and assembled in unexpected ways\, resulting in systems of interwoven\, non-hierarchic geometries. His project\, looping\, is a collaboration involving artistic research\, aerodynamic engineering\, and aircraft construction\, inspired by the effortless flight of the maple tree’s flying fruits. The goal is to translate the morphology of the maple fruit into a structurally\, aerodynamically\, and morphologically mature large-scale flying sculpture\, ultimately realized in aluminum aircraft construction in a size corresponding to an actual airplane wing (6 meters in length). \n \nHPC Data Symphonies\nby Dr. Kirell Benzi \nThe project\nDr. Kirell Benzi is developing HPC DATA SYMPHONIES\, a public-facing installation designed to make the invisible inner workings of the HLRS high-performance computing (HPC) center visible and understandable to non-specialist audiences. The artwork transforms live log data from HLRS’s HAWK supercomputer into an evolving digital landscape\, visualized as a heightfield where extruded cubes correspond to compute activity by scientific field (e.g.\, climate modeling\, AI\, materials science). The project’s goal is to move beyond conventional visualization by developing a composite visual language where visual parameters (like height\, shape\, texture\, color\, and rhythm) are directly tied to real metrics such as compute time and energy consumption\, ensuring the resulting landscape is expressive and data-driven. \nThe artist\nDr. Kirell Benzi is an award-winning data artist and AI researcher whose work explores how information can be transformed into artistic and immersive experiences. Holding a Ph.D. in Data Science from the École Polytechnique Fédérale de Lausanne (EPFL)\, he investigates the intersection of art\, artificial intelligence\, and visualization to reveal the hidden structures shaping our world.\n


\nHis practice treats data as a living material: something that can be sculpted\, animated\, and experienced. Through large-scale installations\, artistic data visualizations\, and interactive environments\, Benzi transforms complex datasets into narratives that engage both intellect and emotion.
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\nBridging scientific inquiry and artistic expression\, his work proposes a new language for perceiving the systems that define contemporary life. He has collaborated with museums\, research institutions\, and corporate partners worldwide\, and his data art has been presented at international exhibitions and conferences\, earning recognition for its distinctive approach to visualizing complexity. \n \nMerging Visions\nby Merve Şahin \nThe project\nMerve Şahin’s Merging Visions project addresses the challenge of communicating the transformation of the Salzburg Festival site by reimagining digital twins through artistic and immersive storytelling. The core concept is “Expanded Immersive Twins\,” extending digital twins to incorporate cultural\, ecological\, and historical layers of the heritage-protected urban environment. The project involves a mixed reality installation where 3D models and scans of the site and its archives are transformed into speculative digital landscapes. The technical output includes developing tangible user interfaces (physical models augmented with digital layers via AR sensors) that enable users to physically interact with and navigate the virtual content\, translating scientific datasets (like user movement and geological structures) into interactive visualizations. \nThe artist\nMerve Şahin is a Vienna-based architect and researcher who specializes in using architectural and digital representation techniques as a medium for visual storytelling. Her work aims to uncover the socio-political and historic layers embedded in public spaces by creating immersive drawings and animations that reveal both tangible and intangible layers of the built environment. Her mediums include parametric 3D-modeling\, vectoral mappings\, digital renderings\, and data visualizations\, which she uses to explore the digital turn’s impact on public spaces through speculative\, engaging digital formats. Her residency project\, Merging Visions\, focuses on transforming urban digital twins into exploratory digital installations that can be experienced by audiences using XR technologies (Augmented Reality and Virtual Reality). By applying this approach to the Salzburg Festival use case\, she aims to overlay physical spaces with electronic data to bring the rich historical\, social\, and cultural layers of urban environments to life. \n \nThe Perfect Perfect Dirty\nby Johanna Bruckner \nThe project\nJohanna Bruckner is pursuing research at the intersection of AI\, queer theory\, ecology\, and posthumanism\, focusing on the interface between the body\, affect\, and technology from the perspective of quantum physics. The project addresses the deconstructive and corporeal nature of interfaces in algorithmic systems\, employing a critical perspective rooted in queer-feminist and post-digital conceptions of the body. As a major outcome\, the artist is conceiving of art objects based on research from the Institute of Quantum Materials at TU Dresden\, combining processes like 3D-printing\, silicone\, glass craftsmanship\, and new materials derived from quantum research. The work also includes developing a multi-channel video installation incorporating new software based on Artificial Intelligence and methods from Large Action Modelling related to incalculable mechanisms in medicine and finance. Furthermore\, the artist is prototyping choreographic scores for the development of digital avatars based on AI research. \nThe artist\nAn artist born in 1984 in Vienna\, Austria\, who studied fine arts\, cultural studies\, and social anthropology across multiple international institutions. Her artistic output—including film installations\, performative scripts\, and writings—explores the tensions at the core of socio-political issues\, specifically focusing on biopolitics and queerness within the framework of late capitalism. She also uses collaborative performative design as an organizing principle for social practice and reflection. Her project\, The Perfect Perfect Dirty\, aims to closely investigate Artificial Intelligence technologies and their potential to complexify and diversify\, primarily by challenging the prevailing myth that digital systems are clean\, reliable\, and free of contamination. Bruckner seeks to modify the parameters through which information is weaponized against queer and other intersectional minorities\, instead establishing “dirtiness” as an ontology for queer AI to develop a more-than-human future coexistence. The research will manifest as a science-fiction based scenario featuring a new video installation and related objects that activate an immersive space\, showcasing fictional characters navigating co-contaminated embodiment with AI-based interfaces. \n \nThere Is No Such Thing as a Fish\nby Carolyn Kirschner \nThe project\nCarolyn Kirschner’s residency project\, There Is No Such Thing as a Fish\, is an artistic investigation into the zebrafish as a model organism in scientific research\, examining its socio-cultural significance and speculating on possible interspecies futures. What does it mean to use the body of one species as a model or stand-in for another? What are the implications of efforts to bring zebrafish’s regenerative abilities into the human body? Are we becoming part fish? Or maybe we always have been? \nWorking with Physics of Life researchers from TUD Dresden University of Technology\, the project engages with a search for the foundational principles underpinning life\, and the interplay of living systems with computational processes. One of the project outcomes is a short film\, which documents a range of interconnected cultural\, material\, and ecological landscapes where human and zebrafish worlds collide – from a petri dish in the lab\, to pet shops\, server farms\, rivers and rice paddies in India. The project also leverages advanced computational methods to produce a speculative anatomical model\, based on digital reconstructions of the last common ancestor between humans and zebrafish 425 million years ago. \nThe artist\nCarolyn Kirschner is a designer and researcher with a background in architecture. Her work explores the growing entanglements of ecologies and machines in the context of the climate crisis\, working with scientific tools\, simulation engines\, digital fabrication\, and film to produce fragments from alternate or expanded worlds. She is a Lecturer at Goldsmiths\, University of London\, and previously taught at Parsons School of Design in New York. \nHer S+T+ARTS residency project There Is No Such Thing as a Fish was developed in collaboration with scientists from the Physics of Life Cluster of Excellence at TUD Dresden University of Technology. Through film and creative applications of advanced computational methods\, the project explores interspecies dimensions of biomedical research and the role zebrafish play in the search for the underlying physical laws and mathematical equations that govern life. \n \nAFRICAN INTELLIGENCE\nby Hadassa Ngamba \nThe project\nHadassa Ngamba will undertake an artist-in-residence program at the HLRS facilities in the week leading up to theGATE. We are excited to see what this collaboration will produce and are looking forward to finding that out during the exhibition along with our visitors. \nThe artist\nHadassa Ngamba is a visual artist with a postgraduate degree from HISK (Higher Institute for Fine Arts)\, Ghent\, Belgium. Her practice brings art\, history\, science and ancestral knowledge systems into dialogue. Working across painting\, sculpture\, photography\, performance and digital media\, she investigates questions of power\, memory and materiality. Drawing on her background in criminology\, she examines historical and contemporary networks of power with analytical precision\, with particular attention to maps\, trade routes and extractive systems. Her current research places two forms of AI — African Intelligence and Artificial Intelligence — in dialogue\, creating a framework through which to reconsider technology\, knowledge\, materiality and sovereignty. In her recent works\, Congolese minerals are transformed into pigments\, allowing matter itself to carry history\, tension and renewal. Her work is held in public and private collections\, including S.M.A.K.\, the Banque Nationale de Belgique\, IKOB\, Morgan Stanley Bank\, the EKARD Collection and Zeno X Gallery. \n \nMerz Akademie\nMIRROR MACHINE\nby Sofija Cvetkovic and Leni Aigner\, students of Merz Akademie\, University of Applied Art\, Design\, and Media\, Stuttgart \nInteractive installation\, 2026. This work explores the fragile relationship between human identity and algorithmic systems. What appears to reflect us begins to reshape us. Through an immersive installation of AI-generated video\, sound and interaction\, the project stages a psychological space where humans and technologies dissolve into one another. By inviting visitors to submit their own image\, the work turns participation into exposure. MIRROR MACHINE questions authorship\, dependency and control; does the algorithm mirror us\, or do we now mirror the algorithm without realizing it? \nTHE CRITICAL ENGINEERING MANIFESTO\nby Danja Vasiliev\, professor for Emerging Media at Merz Akademie\, University of Applied Art\, Design\, and Media\, Stuttgart and co-authors \nPrint\, 2011. The Critical Engineering Manifesto is a call to treat engineering as a site of political and ethical responsibility – arguing that every technology encodes ideology\, and that the Critical Engineer’s task is not merely to build but to study\, expose\, and subvert the systems that shape human agency. \n \nOnly available on Monday and Tuesday \nSANTA MUERTE\nby MAURICIO VALDÉS SAN EMETERIO \nThe project\nA few blocks separate two cathedrals in the historic center of Mexico City: Saint Michael Archangel\, its atrium filling each Sunday with a brass band and the smell of copal; and the Lebanese Maronite Cathedral\, where the liturgy is sung in Aramaic\, the language of Christ’s own prayers. A few streets further\, in the working-class neighborhood of Tepito\, devotees gather for the Rosario Viviente a la Santa Muerte — the Living Rosary — hands clasped before a skeletal figure draped in the colors of the Virgin. \nThis piece inhabits that triangle. \n Santa Muerte is built from field recordings made during a residency at Casa Vecina\, Fundación Carlos Slim\, in 2015\, in close collaboration with artist Miguel Mesa\, whose recordings are woven throughout the work. The dramatic arc is cinematic: a Catholic Mass erupts into the noise of the city; a procession moves through the streets; the Aramaic chant of the Maronite rite folds into the crowd’s devotion for a saint the official Church refuses to recognize. The space of the city — its chaos\, its echo\, its layers of faith — becomes the compositional material. \nSanta Muerte is the outcast of Mexican religiosity and\, in that sense\, a near-perfect metaphor for acousmatic music itself. Both belong to the same lineage — one to Catholicism\, the other to the Western concert tradition — and both are treated by their parent institutions as aberrant\, undisciplined\, too street-level to be taken seriously. Santa Muerte draws together pre-Hispanic iconography\, Catholic ritual\, and a fierce sense of collective belonging into a coherent cosmology that needs no institutional approval to function. Acousmatic music does something analogous: it composes with sound in space and time\, extends Cage’s re-definition of music to its logical conclusion\, and finds most of its audience among the misfits who never felt at home in the concert hall to begin with. \nThe piece is structured around space as a narrative voice. Sound does not merely illustrate — it locates. The listener is placed inside a moving geography: inside the nave\, on the street corner\, in the middle of the rosary. At theGATE Festival\, the work is diffused through an experimental speaker system directed toward the architecture of the room\, using the surfaces of HLRS’s space as an acoustic instrument. The piece does not reproduce the city; it lets the city pass through the room. \nThe artist\nMedia artist/composer and Head of R&D at Heka Art and Science Lab—expert in immersive audio technologies and computer-assisted sound creation. \n Day 1 | 18 – May \nEVENING\n\nS+T+ARTSECHO Project STARTS\nART & MusicPerformance LED Wall\nMerz Akademie – University of Applied Arts\, Design and MediaAI Installation\n\n Day 2 | 19 – May \nEVENING\n\nS+T+ARTSECHO Project STARTS\nART & MusicPerformance LED Wall\nMerz Akademie – University of Applied Arts\, Design and MediaAI Installation\nSONY LABAI Installation\nState Theater StuttgartAI + Theater\n\n Day 3 | 20 – May \nEVENING\n\nS+T ARTSECHO Project STARTS\nART & MusicPerformance LED Wall\nMerz Akademie – University of Applied Arts\, Design and MediaAI Installation\nSONY LABAI Installation\nFundación Épica La Fura dels BausJavier Iglesias Gracia\nState Theater StuttgartAI + Theater\n\n Day 4 | 21 – May \nEVENING\n\nS+T+ARTSECHO Project STARTS\nART & MusicPerformance LED Wall\nMerz Akademie – University of Applied Arts\, Design and MediaAI Installation\nSONY LABAI Installation\nS+T+ARTSHungry Ecocities\, Musae und Resilience\nArtist Hadassa NgambaCollaboration: HLRS + Living Atlas + AI (African Intelligence)\n\n Day 5 | 22 – May \nMORNING\n\nS+T ARTSECHO Project STARTS\nART & MusicPerformance LED Wall\nMerz Akademie – University of Applied Arts\, Design and MediaAI Installation\nSONY LABAI Installation\n\n REGISTER URL:https://thegate-festival.com/es/event/thegate-festival-2026/ LOCATION:HLRS – Stuttgart\, Germany CATEGORIES:Festival END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20260519 DTEND;VALUE=DATE:20260523 DTSTAMP:20260429T073522 CREATED:20251126T111944Z LAST-MODIFIED:20260123T110301Z UID:23706-1779148800-1779494399@thegate-festival.com SUMMARY:ReACH DESCRIPTION:ReACH\nResearch Center for eCulture and the humanities\nFormat \nParticipation in the workshop is based on a call for applications and is subject to a fee. \nRegister \nRegistration for ReACH will be available online via this website from 1 January 2026. \nCALL \nApplications for an artistic residency for German artists\n APPLICATION (DE) \nApplications for an artistic resideny for Spanish artists. \n APPLICATION (ES)\n \n \n \n \nDate \n18-22 may\, 2026 \nLocation \nHLRS | Stuttgart \nWith its triangular architecture sustained by an Advanced School\, a CreativeLab and an Observatory of eCulture\, aspires to be one point in the net required by humanity to fulfill a stimulating future with the support of the artificial intelligence. \nReACH WORKSHOP\nWe invite artists to participate in an enriching workshop on high-performance computing\, scientific simulation & visualization\, as well as artificial intelligence designed to elevate your concepts to the next level. This five-day workshop offers a unique platform for participants to present their ideas and engage with a team of specialists. Our experts will provide interactive feedback and guidance\, assisting you in transforming your initial ideas into well-structured\, formal projects. Through collaborative discussions and practical support\, you will refine your vision and acquire valuable insights to advance your projects. \nPRELIMINARY programme (to be completed):\n Day 1 | 18 – May \nOpening Day\n Day 2 | 19 – May \nMORNING\nWorkshop 1AI +ARTSMarcos Cuzziol\, University of São PauloHe is a researcher on Artificial Intelligence at the Institute of Advanced Studies of the University of São Paulo\, developing the project “Art and Algorithm”. \nAFTERNOON\nWorkshop 2AI +ARTSMarcos Cuzziol\, University of São Paulo \nEVENING\ntheGATE Festival \n Day 3 | 20 – May \nMORNING\nWorkshop 3AI +ARTSMarcos Cuzziol\, University of São Paulo \nAFTERNOON\nWorkshop 4AI + ARTSDenise Lanzieri\, Sony Lab RomWork centered on the convergence of Deep Learning\, Statistical Modeling\, and Observational Cosmology \nEVENING\ntheGATE Festival \n Day 4 | 21 – May \nMORNING\nWorkshop 5HpC + ARTSUwe Wössner\, Visualization & SimulationHe leads the coordination of all HLRS activities in the field of virtual reality. \nAFTERNOON\nWorkshop 6STARTSBernat Cunit\, artist working with code\, crafts\, and robots to explore the digitization of objects and spaces. Currently experimenting with artificial intelligence. \nEVENING\ntheGATE Festival \n Day 5 | 22 – May \nMORNING\nWorkshop 7AI +ARTSMarcos Cuzziol\, University of São PauloAlessandro Londei\, Sony Lab Rom\, Researcher in Augmented Creativity\, Work centered on the convergence of Deep Learning\, Statistical Modeling\, and Observational Cosmology.Denise Lanzieri\, Sony Lab Rom \nAFTERNOON\nWorkshop 8STARTSBernat CunitUwe Wössner\, Visualization & Simulation \nEVENING\ntheGATE Festival \n REGISTER URL:https://thegate-festival.com/es/event/reach-2026/ LOCATION:HLRS – Stuttgart\, Germany CATEGORIES:Workshop END:VEVENT END:VCALENDAR