After last night's opening ceremony, transmediale entered its first full day of programming, and all manner of panels, exhibitions, installations, and screenings took place at Haus der Kulturen der Welt. Many attendees will be immediately drawn to the exhibition, which featured works from a number of new media artists trying to chart a creative course through this brave new world of big data. Below are some of the CAPTURE ALL exhibition's highlights, but by no means the only great work to be seen at transmediale.  

Erica Scourti Body Scan

London-based artist Erica Scourti delivered a priceless bit of mobile age satire at last night's opening ceremony. Using the iPhone's multi-touch gestures and her voice, Scourti read a stream of text created by repeatedly hitting the auto-suggest button, treating the auditorium to a type of algorithmic poetry that appeared on the room's projection screen. In a hilarious twist to the techno-Beat poetry performance, the projection of her iPhone screen also revealed when transmediale attendees used Twitter to become followers or react to her performance.

Scourti also premiered her latest work, the Body Scan video, at the CAPTURE ALL exhibition. To create the video, framed in an LCD screen at the exhibition, Scourti took screenshots of her various body parts with the CamFind image app, which identifies visual information and links it to online data. Screenshots of her lips, for instance, are thus paired with image search results from CamFind, which can be sexist or absurd based on the app's algorithm. 

Oriana Persico & Salvatori Iaconesi (Art is Open Source) Stakhanov

Stakhnaov is a "Big Data God," according to its creators Oriana Persico and Salvatori Iaconesi (Art is Open Source). As the artistic collaborators say, Stakhanov is the "expression of our new global data-religion", harvesting data from the world's social networks. Those entering the exhibition encounter Stakhanov's omniscient robotic voice reading future forecasts and assumptions based on social media patterns, which he also spits out on reams of old school printer paper. Cheeky, esoteric, and a totally cyberpunk fusion of new and old technology, it's an experience not to be missed. 

LaTurbo Avedon Commons

Virtual avatar and artist LaTurbo Avedon "appears" in her latest exhibition Commons, which premered here at transmediale. As with LaTurbo Avedon's other works and international appearances, the artwork is a space constructed out of files submitted by users to her social network. Commons takes users' video files of personal environments and transforms them into 3D polygonal forms, while transforming their 2D aspects data-rich structures. This translates virtually to a video that begins with an aerial approach to an island, which contains various abstract, polygonal 3D monoliths hanging in the sky. It also features, like a glossy luxury product ad, LaTurbo Avedon staring into a sun and later asleep in a bed, while just behind her sits a tablet screen containing all of the video's preceding moments. 

Jennifer Lyn Morone™, Inc

When Jared Lanier suggested in "Who Owns the Future?" we wrest control of our data from Silicon Valley and sell it on our own terms, he should have anticipated an artist taking him at his word. This is precisely what Jennifer Lyn Morone does by turning herself into a corporation Jennifer Lyn Morone™, Inc. As a corporate-human hybrid, Morone is attempting to find her value in the data-driven economy. At the transmediale exhibition, Morone explains her biological incorporation in a video, and proves it with three documents from the State of Delaware, known for its corporate-friendly government. She also spells out the terms and conditions of her personal data market with a paper contract. Visitors are able to use an iPad app to purchase Morone's camera, email, mood, and location data, amongst other personal information. 

Photos by Paco Neumann