内心世界，喜剧，观点与信息
——2012年奥地利电子艺术节动画嘉年华优秀入选作品展映
自2009以来，奥地利电子艺术节的“动画嘉年华”板块已经为艺术节大奖的“电脑动画／电影／特殊视觉效果”类别贡献了大量精彩作品。每年有近700部作品被选送参评该类别的艺术节大奖，但仅仅只有其中的15部作品能脱颖而出，斩获殊荣。“动画嘉年华”板块始终希望在保证参展作品的一流水准的同时，尽可能得保证其类型和风格的多元性。
每年的甄选工作由奥地利电子艺术节两位艺术总监之一的Christine Schöpf，以及另一位评审团成员负责。在去年（2012年），入选作品依照其所表达的主题被分入如下各组：“艺术电影”、“音乐相关”、“内心世界”、“视觉效果”、“喜剧”、“观点与信息”和“叙事”等等。
关于“动画嘉年华”
一篇来自评委Christine Schöpf与Jürgen Hagler对有关评选过程的采访：
Q1：整个评选过程中，您是如何把握评判尺度的？
H：首先是进行初选，这一环节由我们俩一起合作开展。我们把本年度的作品集中在一起，并且会浏览所有的参赛作品以确保我们对这些作品都足够熟悉，尽管其中有一部分我们会在参加其他活动时已经有幸观看过。
S：我们会把所有作品先过一遍并从中筛选出一小部分交给评审团。这主要是考虑到活动时间仅仅有3天而已。
H：事实上，每年都会有大量的作品参赛。近年来，这个数字基本保持在550-700部作品/年。如果真要全部放映的话，那将会需要相当长的时间。
S：在初选环节，我们会把那些我们认为基本无缘奖项但同时适合在活动中放映的影片做好记录。今年（2012年）共有210部作品送至评审团处供评选。第一轮是直截了当的KO环节，如果一部作品未获评审称赞即告淘汰。之后我们将在剩下的约80-100部作品中仔细斟酌。
每年我们会选择放映15部最有质量的作品，同时会为这些作品选取共通的主题意群。具体是“叙事”、“性与犯罪”、“黑暗故事”，亦或是其他主题？我们总是试图找到最能契合这15部作品的主题，而这同时也是该项活动中新主题的诞生路径之一。
H：通常初选和评审团审议的环节将持续两周左右，而这就意味着我们观审作品的时间相当紧凑。所以一开始我们会有些许的忙乱。之后，当整个评审团终于费尽周折地聚齐后，我们便会一起讨论在第一轮的观审中所感受到的最新潮流和趋势，同时这些讨论的成果很可能就将成为新的主题类别。
Q2：这是否意味着每年“动画嘉年华”活动的主题都将有所变化？
S：的确如此。“叙事”类几乎每年都会设立，但其他类别有时会因为没有足够数量的作品而作罢，尽管其中不乏佳作。
H：比如关乎政治观点的“观点与信息”类别，以及“精神”、“现实”类等等，我们在其中发现了令人兴奋的实证方法并往往将其制作成一小时左右的作品集；同时短片也是每年的保留节目，通常我们会放映1小时的左右的短片项目，由6-10部短片作品组成。
时间：2013年4月1日——2013年4月14日
语言：英文
策划：殷歌丽
地点：chi K11艺术空间（上海K11购物艺术中心B3层 淮海中路300号）
殷歌丽
殷歌丽是一名翻译家也是一位编辑，同时还参与部分聚焦于中国的跨文化项目的管理工作。
自上世纪80年代起，她陆续翻译了大量有关中国古典哲学和数字文化方面的书籍。上世纪90年代至今，她以编辑和策展人的身份投身于奥地利电子艺术节的工作团队，其工作成果包括了首次建立了该电子艺术节的数字档案库、建立了奥地利电子艺术节大奖的电子社区分类标准和举办一年一度的艺术节研讨活动等等。她同时还兼任奥地利电子艺术节组委会的中国事务联络员。2010年，她曾受瑞士驻沪总领事馆科技文化中心的委托，为一个关于“爱因斯坦游览中国各大科学中心”的展览组织相应的文化与科技框架项目。近日，她刚刚完成了一个同样由瑞士驻沪总领事馆科技文化中心委托的研究项目，主题是关于瑞士学术机构对中国社交媒体的应用。
她目前居住和工作于奥地利的林兹和中国的上海。
Inner Spaces, Comedy, Position & Message - Selected winning animations from Ars Electronica Animation Festival 2012
Since 2009, Ars Electronica's "Animation Festival" presents a selection of works submitted to the Prix Ars Electronica’s "Computer Animation / Film / VFX" category. Each year, nearly 700 works are submitted to this category of Prix Ars Electronica, but only 15 receive a prize at the competition. The "Animation Festival" wants to showcase the wide range of submitted works which at the same time represent an international "best of" in this field.
The selection is done by one of the two artistic directors of Ars Electronica, Christine Schöpf, and a jury member. In the 2012 edition, the works are grouped around the topics "Art Film", "About Music", "Inner Spaces", "Visual Effects", "Comedy", "Position & Message", and "Narration".
About Animation Festival
Learn through an interview with Christine Schöpf and Jürgen Hagler on the selection process:
Which criteria are used to select the works in the festival lineup?
Hagler: The process begins with a preliminary selection, which we do together. We assemble all the works from a single year, view all the submissions, though we’re already familiar with some of them because we also attend other festivals.
Schoepf: But we go through all the submissions to come up with a short list of candidates for the Prix judging in order to get down to a number that’s manageable over the course of only three days.
Hagler: I mean, there are a lot of entries! In recent years, it’s been in the 550-700 range, and it takes quite a bit of time to screen so many films.
Schoepf: In this preliminary judging, we make note of films that we believe have no chance in the competition for Prix honors but might be a good fit on the Animation Festival program. This year, there were 210 works that made it to consideration by the jury. First comes the KO round—if the work doesn’t get Thumbs Up, it’s eliminated. Then, we look at the survivors, and really focus on 80-100 works.
We screen the 15 best films and think about which thematic cluster we could assign them to. Is it Narration, is it Sex & Crime, is it Dark Stories, our sort of late-night lineup? We scrutinize the 15 films with emphasis on the best way to group them together, which is also the way we come up with new themes.
Hagler: The preliminary selection and the jury session take place within the span of two weeks, which means a really intensive encounter with the material. So, first we have a little huddle. Then the jury convenes, which is also an extended process—the discussion continues through lunch about things like the latest trends that are evident in the first round. And these elaborations give rise to concepts and themes that just might develop into a new category.
Does this mean that the Animation Festival’s themes differ from one year to the next?
Schoepf: Exactly. Narration, for example, is on the program every year. But there have also been themes for which we had a couple of terrific works but just not enough to assemble a whole package.
Hagler: For example, Position & Messages, which deals with political statements, or Psyche, Reality—we find substantive approaches that are really exciting and dovetail into a one-hour block. Short films are a mainstay of every Animation Festival; we have a short film program with an approximately one-hour running time that consists of 6-10 animated films.
Date Apr 1, 2013 - Apr 14, 2013
Language English
Planner Ingrid Fischer-Schreiber
Venue chi K11 art space (Shanghai K11 Art Mall, B3, 300 Huaihai Zhong Lu）
Planner
Ingrid Fischer-Schreiber
Ingrid Fischer-Schreiber is a translator, editor and manager of cultural cooperation projects with a focus on China.
Since the 1980s she has translated many books about Chinese philosophy as well as digital culture. Since the mid 90s, she has been working, amongst others, for Ars Electronica, the oldest festival for „art, technology and society“, as an editor, curator (first digital archive of Ars Electronica, Digital Communities category of Prix Ars Electronica, annual Festival Symposium etc.), and the China liaison person of Ars Electronica. In 2010, she has been commissioned by swissnex China to organize the cultural & scientific framework program for an exhibition about Einstein traveling through Chinese science centers. She just finished a research project on the use of Chinese social media by Swiss academic institutions (commissioned by swissnex China).
She lives in Linz and Shanghai.
