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Entertainment Division

New Face Award


Application, Website, Gadget

Florian BORN(Germany)


Every cyclist hates potholes in the streets. But complaining about them via the official channels can be extremely time-consuming and annoying because bureaucracy often leads to a dead end. Auto-Complain offers the possibility to automate the act of demanding road renovations by using a simple app. All you need to do is attach your phone onto your bike to track its motions. When hitting a bigger pothole, your phone registers the intensity and location of the bump. This data is directly sent to and stored on an online platform called auto-complain.com. Upon arrival at your destination, your complaint ride is completed and a PDF file summarizing all of your complaints is sent to the road repairs department. Another feature is a spray device, which is mounted on your bike. As soon as you ride over a pothole, the spray device leaves a mark on the pothole to alert other cyclists.

Reason for Award

This app is mounted onto your bicycle like a cyclocomputer or navigation device. If it senses potholes in the road while you are moving, it marks those spots requiring repair with a spray and then can log and announce the location to the authorities. The work was entered into the festival in the “application” category and, while indeed at its core is an app for an iPhone mounted onto a bicycle, the work itself goes beyond this into the spheres of gadgetry, websites, communities, and politics. It is a superb example of how an app is not necessarily always something that fits inside a display or device. (KUBOTA Akihiro)

Slime Synthesizer

Sound device

Dorita / Airgarage lab (KAWAUCHI Naofumi / SASAKI Yumi) (Japan)


This work is a sound synthesizer in indefinite, liquid form, offering an utterly new kind of musical instrument experience. The sound changes when you touch the slime or when it transforms, meaning you can produce sound waves almost like you are grasping sound clouds. You are connected to the synthesizer and then joined up with the slime at a separate contact point, producing sound when you touch the slime. This is an indefinite synthesizer the likes of which has not been seen before, in the same line as other pioneering instruments like the Warbo Formant Organ (1937), Raymond Scott’s Clavivox (1952), or Robert Moog’s Moog Synthesizer (1964). And since the instrument specializes in producing and altering sound, it can also be used as a drum machine regardless of musical scale.

Reason for Award

A dissolving oscillator, a liquefying LFO, a defrosting envelope... The parameters for this synthesizer are an indefinite liquid, slime, which when played achieves a fusion with technology through the viscous medium. If William S. Burroughs proposed a female android with The Soft Machine, this is a veritable liquid trautonium. Immerse yourself in protist ideas! (UKAWA Naohiro)


Video work

KATSUKI Kohichi(Japan)


This project preserves and communicates scenery and culture through video. It is produced by Fukuoka’s KBC as a TV show promoting the local region on the theme of “traditional sound”. The sounds of traditional crafts (“playing” fibers on a Hakataori loom, making Japanese paper, planing wood chips) were recorded and edited to become the introduction for the song GARNET, by Kyushu idol group LinQ, who then performed it in a Hakataori studio. The title refers to a “department” that saves this fifth-dimensional data, a combination of the fourth (space-time) and first (sound) dimensions. The story goes that the beautiful young girl Hibiki Garnet has come from the future to this fictional department to film sounds, scenery and people’s ideas, and preserve them for later generations. It constitutes a kind of nesting, an act of archiving videos that mix contemporary sensibilities and traditions.

Reason for Award

The sound of a Hakataori loom. The sound of a mortar pounding clay. The sound of Japanese paper being made. This gracefully anomalous regional promotion project conducted field recordings of these sounds “performed” by traditional culture that were mined from around Fukuoka Prefecture, embedded them into a dance track, and then turned into a session with a local idol group in the crafts workshop. This isn’t Cool Japan. It’s Traditional Japan New Wave. (UKAWA Naohiro)