Ars Electronica
   
 

Prix Ars Electronica
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Computer Animation / Film / VFX
Computer Graphics
Computer Music
Computer Animation
Interactive Art
World Wide Web
.net
Computer Animation / Visual Effects
cybergeneration - u19 freestyle computing
Digital Musics & Sound Art
Net Vision / Net Excellence
u19-freestyle computing
Net Vision
Digital Communities
[the next idea]
Hybrid Art
Media.Art.Research Award
 

Computer Graphics 1987 – 1994


The category "Computer Graphics" of the Prix Ars Electronica was open to computer images from different areas - art, culture, science and research. You could enter computer generated still images created by programming computers individually and / or by making creative use of available computer programms.

www 1995 – 96
.net 1997 – 2000
Net Vision / Net Excellence 2001 – 2003
Net Vision 2004 - 2006

The category "World Wide Web" (1995 – 96) and ".net" (1997 – 2000) was open to all applications / categories of WWW sites, with the exception of those that are exclusively commercially oriented in the sense of product advertisement. The sites will be judged on the basis of criteria such as webness (is WWW the only place where this application / site can emerge, exist, be developed?), community forming (Does it sustain a new form of community?), virtual identity (Does a sense of a single identity emerge from a community of many?), user input and feedback. During the years 2001 to 2003 prizes have been awarded in the category "Net Vision / Net Excellence": "Net Vision" has distinguished projects that were striking in their anticipative and innovative way of dealing with the online medium. "Net Excellence" has awarded projects that are convincing because of the originality of their content and creative use of state-of-the-art applications.

The "Net Vision" category singles out for recognition artistic projects in the Internet that display brilliance in how they have been engineered, designed and-especially-conceived, works that are outstanding with respect to innovation, interface design and the originality of their content. The way in which a work of net-based art deals with the online medium is essential in this category.

Computer Music 1987 – 1998
Digital Musics 1999 -


From 1987 to 1998, digitally produced musical pieces could be entered in the Computer Music category. It was permissible to have enhanced the works using analog recording technologies, and to have composed them with natural instruments or voices that were either live or recorded. The number of natural instruments or voices was required to be limited to a small ensemble.

In 1999 the category has been changed from "Computer Music" to "Digital Musics" to signalize "openness to all the musics which computers make possible.” Focusing on digital innovation, the this category is open to Electronica (like Drum'n Bass, Dub, Techno, Downtempo, Ambient, Breakbeat, Global, HipHop, Jazz, Noise, Mondo/Exotica, digital DJ- culture, etc.), Sound and Media (like sonic sculpture, intermedia/sound driven visuals, performances, soundspace projects, installations, radio works, net-music, generative musics, etc.), Computer compositions (electroacoustic, acousmatic and experimental).


Computer Animation 1987 – 1997
Computer Animation / Visual Effects 1998 - 2006
Computer Animation/Film/VFX 2007 -


The category "Computer Animation" (1987 – 1997) was open to animation work from all fields - science and research as well as art, education and entertainment. Entries could consist of computer generated films produced through individual computer programming and/or the creative use of available computer programs. It was permissible for traditionally produced film/video material to be digitally integrated or combined with the computer animation.

In 1998, this category has been slightly modified: It recognizeds excellence in independent work in the arts and sciences as well as in high-end commercial productions in the film, advertising and entertainment industries. In this category, artistic originality counts just as much as masterful technical achievement.


Interactive Art 1990 -

The category "Interactive Art" of Prix Ars Electronica (since 1990) is open to all types of current interactive works in any form: installations, performance, audience participation, virtual reality, multimedia, telecommunication, etc.

Criteria for judging the works include the form of interaction, interface design, new applications, technical innovations, originality and the significant role of the computer for the interaction. Here, particular consideration is given to the realization of a powerful artistic concept through the especially appropriate use of technologies, the innovativeness of the interaction design, and the work's inherent potential to expand the human radius of action.


cybergeneration - u19 freestyle computing 1998 - 2003
u19 - freestyle computing 2004 -


The competition "u19 – freestyle computing", which was created in 1998 by the ORF Upper Austrian Regional Studio, has become established as the most successful youth competition for computer and new media in Austria. The works evince a great diversity and demonstrate the scope of opportunities that have opened up for young people through the creative use of the computer and digital media.

[the next idea] 2004 - 2007

Discovering ideas for tomorrow in young minds today is the aim of this grant supported by voestalpine and focusing on the intersection of art and technology. The category’s target group includes students at universities, art schools, technical schools, and other educational institutions as well as creatives from all over the world, aged 19–27, who have developed as-yet-unproduced concepts in the fields of media art, media design or media technology. The winner receives a stipend and will be invited to spend a term as Researcher and Artist in Residence at the Ars Electronica Futurelab. Judging will be done by a panel of experts.

Digital Communities 2004 -

To mark its twenty-fifth anniversary in 2004, Ars Electronica had expanded its international competition for cyberarts to include a new category called "Digital Communities." "Digital Communities" encompasses the wide-ranging social consequences of the Internet as well as the latest developments in the domain of mobile communications and wireless networks. "Digital Communities" will spotlight bold and inspired innovations impacting human coexistence, bridging the digital divide regarding gender as well as geography, or creating outstanding social software and enhancing accessibility of technological-social infrastructure. This new category will showcase the political potential of digital and networked systems and is thus designed as a forum for the consideration of a broad spectrum of projects, programs, initiatives and phenomena in which social innovation is taking place, as it were, in real time.

Hybrid Art 2007 –

The “Hybrid Art” category is dedicated specifically to today’s hybrid and transdisciplinary projects and approaches to media art. Primary emphasis is on the process of fusing different media and genres into new forms of artistic expression as well as the act of transcending the boundaries between art and research, art and social/political activism, art and pop culture. Jurors will be looking very closely at how dynamically the submitted work defies classification in a single one of the Prix categories of long standing.

Media.Art.Research Award 2007 –

This theory prize is designed to accord due recognition to the important work being done by art historians and media scholars in the field of media art, which has emerged over the last two decades as an innovative, wide-ranging discipline in its own right. The great diversity and tremendous current relevance of this branch of artistic production call for theoretical and scholarly reflection on the historical significance of such artworks, on how to mediate audiences’ encounters with them and on their conservation. The theory prize competition is meant to promote an international discourse centering on the theories, methodologies and standards of media art. Essential to this agenda is the necessity of defining terms and developing a theoretical framework in a way that affirms pluralism and emphatically rejects any sort of final categorization of such artforms.