{"id":495,"date":"2022-11-21T07:59:31","date_gmt":"2022-11-21T06:59:31","guid":{"rendered":"https:\/\/teatronika.org\/?p=495"},"modified":"2022-11-27T16:14:39","modified_gmt":"2022-11-27T15:14:39","slug":"resolucion-concurso-teatronika-2022","status":"publish","type":"post","link":"https:\/\/teatronika.org\/en\/2022\/11\/21\/resolucion-concurso-teatronika-2022\/","title":{"rendered":"Contest Results 2022"},"content":{"rendered":"<p>The jury composed by<\/p>\n<p>Pau Artigas &#038; Marc Padr\u00f3, from Collective Estampa, \u00c1ngela Precht, curator of the technology axis of Barcelona Biennial of Thought 2022, Collective Matriu.id, represented by Pau Vidal, and Beatriz Liebe &#038; Mart\u00ed S\u00e1nchez Fibla, from Teatronika<\/p>\n<p>has decided through arduous discussions and deep reflections between the human, the divine and the artificial, that the winning scripts of the 4th edition of Teatronika contest are:<\/p>\n<p><strong>1st place category 100% biological:<\/strong><\/p>\n<p>Ex aequo to<\/p>\n<p>&#8211; La singularidad de ANDR\u00e9s by <strong>Roc\u00a0Esquius Miquel<\/strong><\/p>\n<p>&#8211; Vida de Robot by <strong>Gad Sans\u00a0Fingerhut<\/strong><\/p>\n<p>From Roc Esquius\u2019 script, they have highlighted the general proposal: how suitable the text is to be played by robots, the rhythm and the originality of the topic.<\/p>\n<p>And from Gad Sans\u2019 script, they have appreciated the experimentation with the format and the multiple possibilities of interpretation that it offers.<\/p>\n<p>Both authors win <strong>500 euros.<\/strong><\/p>\n<p><strong>1st place category Cyborscripts:<\/strong><\/p>\n<p>&#8211; El sou d\u2019un robot by <strong>Max Grosse Majench\u00a0and\u00a0Joan Canyelles\u00a0<\/strong><\/p>\n<p>The jury highlights the authors&#8217; ability to create a coherent piece, combining the result of AI and a topic that makes sense in the very context in which it has been created.<\/p>\n<p>They win <strong>1.000 euros.<\/strong><\/p>\n<p><strong>3<\/strong><strong>th<\/strong><strong>\u00a0&#8211; 7<\/strong><strong>th<\/strong>\u00a0\u00a0place:<\/p>\n<p>&#8211; La ventana by <strong>Javier Mariscal Crevoisier<\/strong><\/p>\n<p>&#8211; Broteverde by <strong>Lorenzo Asensio Jambrina<\/strong><\/p>\n<p>&#8211; T\u00e1ntalo by <strong>Francisco Ballesteros<\/strong><\/p>\n<p>&#8211; Pesadillas de robot by <strong>Ignacio Echevarr\u00eda Molina<\/strong><\/p>\n<p>&#8211; Kafkaturing seis di\u00e1logos <strong>by Osvaldo Cibils<\/strong><\/p>\n<p>Each author <strong>wins 100 euros.<\/strong><\/p>\n<p>And finally, <strong>special mention<\/strong> to:<\/p>\n<p>&#8211; Deshechos by <strong>Patricia Su\u00e1rez Recchi<\/strong><\/p>\n<p>&#8211; Retrato robot by <strong>Jos\u00e9 Carlos Jim\u00e9nez Revuelta<\/strong><\/p>\n<p>&#8211; Ovejas y pastores by <strong>Jorge-Yamam Serrano Ferrer<\/strong><\/p>\n<p><strong>All<\/strong> the winning scripts will be <strong>published in the book Teatronika_04.<\/strong><\/p>\n<p>Congratulations to the winners of the contest, and all the participants. It has been an absolute pleasure to read your \u00a0scripts.<\/p>\n<p>We will contact the winners in the next few days.<\/p>\n<p>We hope to see you soon again!<\/p>\n<p><strong>Teatronika<\/strong>\u2019s Team<\/p>\n<p><em>Robotics, AI, Culture and Arts<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The jury composed by Pau Artigas &#038; Marc Padr\u00f3, from Collective Estampa, \u00c1ngela Precht, curator of the technology axis of Barcelona Biennial of Thought 2022, Collective Matriu.id, represented by Pau Vidal, and Beatriz Liebe &#038; Mart\u00ed S\u00e1nchez Fibla, from Teatronika has decided through arduous discussions and deep reflections between the human, the divine and the &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/teatronika.org\/en\/2022\/11\/21\/resolucion-concurso-teatronika-2022\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Contest Results 2022&#8221;<\/span><\/a><\/p>\n","protected":false},"author":11,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-495","post","type-post","status-publish","format-standard","hentry","category-sin-categoria"],"acf":[],"_links":{"self":[{"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/posts\/495","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/comments?post=495"}],"version-history":[{"count":13,"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/posts\/495\/revisions"}],"predecessor-version":[{"id":807,"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/posts\/495\/revisions\/807"}],"wp:attachment":[{"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/media?parent=495"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/categories?post=495"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/teatronika.org\/en\/wp-json\/wp\/v2\/tags?post=495"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}