carlos katastrofsky
Since 2004
Works in Salzburg United States of America

Carlos Katastrofsky is an artist, based in Austria / Europe. Working primarily in the field of new media art, his areas of exploration include netart, interactive installations, software art and the possibilities of web- elements as cultural tools.
The person behind the pseudonym Carlos Katastrofsky is Michael Kargl, born in Tyrol, Austria. He lives and works in vienna. || carlos.katastrofsky[at] ||
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Competition URBAN STRATEGIES AWARD 2011 / University of Applied Arts Vienna

Mon Sep 05, 2011 00:00

Vienna, Austria

Study Grant: 3 Semesters MSc Urban Strategies
The Urban Strategies postgraduate program builds a worldwide competence center that addresses the city as the central field of action for today’s production of architecture. This award has been established to encourage young architects and related professionals to push the envelope of their discipline, by widening their repertoire and competence towards the urban realm. We ask for conceptual design and research statements that envision an urban strategy for the city of your origin or the city you live in. Can you be radical and contextual at the same time? At what scale do you consider architectural thought as meaningful for the particular urban situation.
what CITY? what STRATEGY? what SCALE?
Ideas for new urban positions within the architectural disciplines
A single grant is awarded for free participation at the Urban Strategies Postgraduate Program.
Duration: 16 months full time / Regular course fee: 15.000 Euro / Title MSc Urban Strategies /
The grant does not guarantee the successful completion of the course.
Group submissions are welcome; however, the grant will be divided by the amount of group members.
Competition launch: July 18
Submission deadline: September 5
International Jury meeting: Mid September
Announcement of winner: End of September
Online submission in English to
# 1x A1.pdf [landscape; max 20MB] visualizing the urban strategy + title and headline, incl. name of applicant in the upper right corner
# 1x A4.doc / max 700 words motivation / explanation of strategy
# scanned copy of diploma and certified translation [English]
# scanned copy of passport
# CV (max 2 A4 pages) / academic background, earlier and recent professional experiences incl. indication of the basis of English language skills
Assessment Criteria
The winner will be defined by a process of selection in 3 rounds.
1st: Originality and innovation of approach / selection of max 20 projects / judgment based on A1.pdfs
2nd: Degree of innovation and ability of expression selection of 3 projects / judgment based on A1.pdf and explanation of strategy, motivation
3rd: Comprehensiveness of vision, motivation and personal background / definition of order and selection of winner / judgment based on A1.pdf, explanation of strategy, motivation and CV
Eligible Persons
Eligible persons are students that hold a bachelors or masters degree in architecture and related disciplines [age max 30 years], excluding staff and current students of the University of Applied Arts Vienna, as well as any person involved in the competition organization.
Formal Failure
All entries that do not fulfill the formal criteria of the competition will be excluded from any further procedure: non eligibility, late entries, and incompleteness of submitted documents.
Enrolment & Replacement
The winner of the competition agrees to confirm acceptance within three weeks, and will enroll in the University of Applied Arts Vienna latest 6 months after announcement of winning. Otherwise the grant will be given to the next replacement. Unexpected cases of incapability of timely enrolment [visa procedures, affliction] are to be addressed at first instance to the administrator of the program and will be weighted according to the particular circumstances.
Rights of Publication
Owner- and authorship of the submitted work remains by the applicants. Urban Strategies reserves the legal possibility to publish the results in any media when indicating the author. Submitted entries may be published by the author only when mentioning Urban Strategies Award 2011 as the legal framework of the work. Authors of selected works for publication agree in submitting particular parts of their projects in higher image resolution for print publication on request by Urban Strategies.


new work: webzen

ha! this is great, thanks a lot. i guess you provided an answer to the last Koan:

Q: “All things can be traced back to the code, to what, however, can the code be traced back?”
A: "You have to use a sack because you have nothing to carry."

but maybe this is a misconception of what a Koan is ;-)

AND what is quite interesting is the question when is a webpage a webpage (in a philosophical manner)? technically one could say it has to pass the validation but if it is just written on a piece of paper is it still a webpage?


new work: webzen

title: webzen
year: 2009
webpage on server
launch artwork:

A Koan: “All things can be traced back to the One, to what, however, can the One be traced back?” - “Untitled Document” is written on top of the browser window. No name, no content, no design: a webpage as simple as it can be. Still the work webzen (2009) demands outmost concentration. Clicking from one page to the next, the neverending quest for links is leading further, the skimming through pieces of information and the scanning of texts and pictures is interrupted - which is irritating. webzen is an attempt to abandon representational thinking, to understand life as utterly art of absent-mindedness and to experience the reality beyond duality and logic and beyond space and time. webzen has only one assignment: the single-serving site wants to overcome itself by means of meditating on the basic formulas of sourcecode: <html>, <head>, <title>, <body>, system, spirit, concept, body. But overcoming would only have been possible if the site would have never existed.
- another Koan: “All things can be traced back to the code, to what, however, can the code be traced back?”


2 new works: interference, all you can see


A a phenomenon of simultaneous overlapping.


all you can see

A video, playing with the time-based representation of structures
of the digital art production, that are inherent in the system, and
the processes attendant to it.


4 theses on exhibiting internet art

[if you're interested to discuss these topics in detail please go to - thank you]

[internet art in real spaces]
the border between the work of an internet artist and the curating
done by a curator who wants to show the work in a physical exhibition
is shifting. it is not enough to put computers in an exhibition and
let artworks be on display. internet works have to be adapted to be
shown in an exhibition space. since the original context of those
artworks -the private surroundings of people consuming internet art on
their computers at home- is lost, there has to be some kind of setup
that makes the work suitable for the gallery-context. on one hand this
is the responsibility of the curator -(s)he is the one who provides
the exhibition context- but on the other hand it is also the
responsibility of the artist to think of possibilities how the pieces
can be transformed. thus a intense communication process is needed
between curator and internet artist.

[exhibition setup]
exhibiting internet art has to take on forms that are different from
the current widespread "independend" setup that build on the setup of
festival exhibitions. if internet art wants to become recognised as
"art" and not as funny gadget/tech stuff/industry whore then putting
such art forms on display needs to be done carefully. the focus has to
shift away from the technical part of the work to something more
reliable (todays tech is more than old tomorrow): the cultural
context. technology is a cultural context, and nowadays even one of
the most powerful ones. but it is not alone. technology is embedded in
a framework of cultural developments that exist for a much longer time
and by thus reaches much deeper into what is known as perception of

[mixing art forms]
mixing the diverse art forms has to become obligatory. internet art
has not to be treated separately - it is a form of art as is painting,
sculpting etc.
the only difference is that it uses unstable electronic media to come
to life. but the question is: hasn't unstable media been used before?
would you say that beuy's grease chair is no art because it uses
unstable media in it (grease)? temporality has always been an issue in
art, so why does one not accept it in internet art?

[defining contexts]
to exhibit internet art and to provide the proper context the
definitions of this art form have to be changed. and not only the
definitions on wikipedia or in some smart books, even the unwritten
but predefined aura has to be questioned. to become reasonable the
notions of avant-garde, hacker, subculture and everything else that
has this shiny late-nineties "we are on the edge of it all" has to be
dropped. this aura is comfortable but makes urgent developments