Wintersemester 2024/2025


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Narration in und mit technischen Bildmedien
Künstlerische Projektklasse – die Untersuchung narrativer Verfahren, ihrer Möglichkeiten und Grenzen in den Bildmedien ist ein zentraler Bestandteil der Lehre.

 

Die Fachklasse „Narration in und mit technischen Bildmedien“ ist eine künstlerische Projektklasse. Die Untersuchung narrativer Verfahren, ihrer Möglichkeiten und Grenzen in den Bildmedien ist ein zentraler ein Bestandteil der Lehre. Die Student*innen sind aufgefordert eigenständige künstlerische Arbeiten zu erstellen und können hierbei alle denkbaren Formate, auch jenseits des Spielfilms wählen. Gemeinsame Sichtung und Diskussion von Studierenden-Arbeiten im Klassen-Plenum. Einzelbetreuung der Projekte in allen Phasen.

Einzelberatungs-Termine nach Absprache oder per Mail. (tarslan@udk-berlin.de).

Pflichtveranstaltung für Studierende der Fachklasse „Narration in und mit technischen Bildmedien“.

Autobiographische Filmprojekte stehen im entschiedenen Gegensatz zu einem vermeintlich objektiven, beobachtenden Dokumentarfilm. Die Dekonstruktion tradierter Erzählformen und angeeigneter Rezeptionsästhetik gehört hierbei ebenso zum Verfahren wie das Ausloten filmischer Grenzen.

Im Fokus dieses Seminars steht die Entstehung eigenständiger künstlerischer Arbeiten. Dafür wird zum einen der technische Umgang mit der 16mm-Kamera Arri SR2 erprobt. Zum anderen wird jede*r der Teilnehmenden drei Minuten s/w-Material bekommen, um einen „Kürzest-Film“ nach einem vorher erstellten Exposee zu drehen. Die entstandenen Arbeiten sollen nach Möglichkeit am Ende in Form einer kleinen Ausstellung präsentiert werden. 


Donnerstag, 24. Oktober, 14:00 - 16:00
Donnerstag, 7. November, 14:00 - 18:00
Freitag/Samstag, 8./9. November, je 10:00 - 18:00
Donnerstag, 21. November, 14:00 - 16:00
Drehzeitraum: 27. November - 17. Dezember (pro Person ein Drehtag und/oder eine Drehnacht)
Donnerstag, 9. Januar, 14:00 - 16:00
Donnerstag, 30. Januar, ab 18:00

Wir bitten um verbindliche Voranmeldung bis zum 15.10.2024.

9.11. und 30.11.2024 (Freitag und Samstag), 10-18 Uhr
06.12. und 07.12.2024 (Freitag und Samstag), 10-18 Uhr

In einem praxisnahen Seminar wird die Klasse für Narrativen Film die Möglichkeit haben, Beispiele der Schnittarbeit von und mit Reinaldo Pinto Almeida zu analysieren, mit besonderem Fokus auf seine Zusammenarbeit mit Professor Thomas Arslan. Dabei werden exemplarische Szenen und Entscheidungen aus dem Schnittraum, insbesondere in Bezug auf die Filme 'Verbrannte Erde' und 'Helle Nächte', hervorgehoben. Darüber hinaus bietet Reinaldo Pinto Almeida individuelle Schnittkonsultationen mit den Studierenden an. Ergebnisse der Konsultationen sollten dann in einem weiteren Schritt mit der Klasse geteilt werden.

Verbindliche Anmeldungen unter: reinaldo@grainofsalt.eu

Alle Teilnehmer*innen sind angehalten, eigene fiktionale Filmideen in das Seminar einzubringen. Der Fokus der Weiterentwicklung liegt im Seminar auf dem visuellen Erzählen. Bilder sind beim Filmemachen das wesentlichste, dramaturgische Gestaltungsmittel. Vor diesem Hintergrund sichten und analysieren wir einige Sequenzen aus der jüngeren Filmgeschichte, die rein visuell funktionieren und die ohne, oder mit nur wenigen Sprechtexten auskommen.

Ziel des Seminars ist es einerseits, die Sensibilität für die Bildebene von textbefreiten Szenen zu schärfen und sich ihrer Aussagekraft bewusst zu werden. Es sollten für alle Beteiligten schriftliche Bildfolgen der eingebrachten Stoffe entstehen.

Verbindliche Anmeldungen unter: horstmarkgraf@web.de
(begrenzte Teilnehmendenzahl)

Im Rahmen der Lehrveranstaltung SOUNDDESIGN/POSTPRODUKTIONSBERATUNG bieten Christian Obermaier und Jochen Jessuzek theoretische sowie praktische Hilfestellung für die Audio-Postproduktion filmischer Arbeiten aus den Bereichen Narrativer Film, Dokumentation und Videokunst an.

(Keine Scheinvergabe)

The class “Experimental Film / Media Art” is focused primarily on an experimental approach of the medium film and video. The focus is on the interface of visual art and film. The aim is to develop new formats and experimental methods of presentation, and to find a contemporary approach that addresses current developments in society as well as contemporary philosophical discourses and phenomena.

For new registrations, please send an e-mail to ni.fischer(at)udk-berlin.de.

New students are invited to meet Prof. Nina Fischer on Monday, Oct.14th at 2 pm, after the KUM semester introduction, in GRU 129. Please bring examples of your work for a short presentation.

Prof. Nina Fischer
GRU 23
ni.fischer(at)udk-berlin.de

Artistic Research Assistant:
Sabrina Labis
GRU125
sabrina.labis(at)me.com

Student Tutors:
Elisabeth Scholz
elisabethjohannascholz(at)gmx.de

Juyeong Park
parkjuyeong3701(at)gmail.com

The seminar discusses the history and present of the ecological question and establishes connections to artistic practices that explore, shape and politicize the relationship between the city and nature in a variety of ways.
First Date / special event:
International Conference „Stadt als ökologische Hölle – Berichte, Reflektionen und Alternativen“ Thursday, 17. October, 9 am - 8 pm, ZK/U, Siemensstraße 27, 10551 Berlin

The seminar takes architecture as the starting point for artistic research and filmic exploration. It examines how ideologies, hierarchies and gender roles are reproduced through physical spaces.

Individual support and guidance for film projects with a focus on visual language and editing.

Camera consultation for the class camera ‘Sony Alpha 7S III

The core of this seminar is the exploration of 16mm and 35mm film as an artistic medium and strategy. From the works of artists like Rosa Barba, Tacita Dean, Anthony McCall or Paul Sharits, film has found its way into artistic environments not only as a as a bearer of images but as an object in space.


Fr. 25.10.24, 10-12 Uhr
Fr. 8.11.24, 10-12 Uhr
Fr. 22.11.24, 10 - 14 Uhr
Fr. 6.12.24, 10 - 14 Uhr
Sa. 18.1.25, 10 - 18 Uhr
Sa. 25.1.25, 10 - 18 Uhr
Fr. 7.2.25, 10 -14 Uhr

In this two-day workshop we will put hands on the technique of green screen compositing.

The Generative Art / Computational Art class explores the possibilities of using programming, generative strategies, and interaction in various contexts in artistic projects; the focus is on real-time systems that incorporate complex time structures, visuals, sound and music.

*** If you want to join this class, contact the profs,
and come by on Monday 15-18h! ***

Professor Alberto de Campo– decampo@udk-berlin.de
Assistant Professor Bruno Gola – bgola@udk-berlin.de

Tutor*innen:
Selenay Kıray – selenaykiray@gmail.com
Jiawen Wang - ji.wang@udk-berlin.de
Luis Brunner - l.brunner@udk-berlin.de

In "Art Worlds", sociologist Howard Becker argues that nearly all art works are made by more than one person, and analyzes the process: who does which parts, and who gets which recognition (e.g. credit or payment) for their contribution. We focus on the many forms of decision-making in artistic projects:

monarchy/autocracy: One Artist has general final say
division of decision & labor, aka do-ocracy: person X volunteers to take over sections, e.g. visuals, sound, lighting, and decides all of its aspects along the way
democracy: a collective makes all decisions jointly, by consensus or majority vote

External interference from funding bodies or curatorial layers, and decisions to delegate aspects of a process (to craftspeople or AI tools) add more layers of complexity.

With our sociologist hats on, we look at our own experiences of such work processes, and invent, adapt and improve models we find inspiring to create works.

Oct 15, in class plenum 14-17h, Gru 111:
Artist talk Jeff Snyder!
https://www.scattershot.org/

Nov 7, 10-13h, Gru 111:


Workshop with Stro.my Ensemble
https://www.stro.my

FLUX instrument!
https://somasynths.com/flux/

To explore power games from many angles, we will:
• read Howard Becker, Art Worlds, and other literature
• review/discuss art works that address power relations
• review/discuss own experiences in individual projects, group works (as in S4NTP), and others
• experiment with work processes where we:
- play monarchy, taking turns for time slots/aspects
- work in do-ocracy / divided labor
- apply stricter forms of democracy, such as consensus
- design intra-acting systems that exhibit power relations.

Interactive programming or Just-in-Time programming is the practice of (re)writing a program while it is already running. In performance practice the term Live Coding is used when a performer (or a group of performers) play a piece and/or improvise while programming and showing the code to the audience. Programming tends to be a solo activity even if the result in many cases is a collective effort: most software is built by reusing code in form of libraries, frameworks, copy and paste from forums and, in recent years with the help of Large Language Models. With this in mind, we ask: are there other forms of writing code and algorithmic systems for performing live that adapt to the collective process? How much does it change when it is a collective effort versus a single coder? Starting with the Coding Dojo practice we will explore different methods of writing code together with the purpose of building audiovisual pieces and instruments.

This semester we will explore how digital worlds challenge and reshape perceptions of selfhood and emotional experience. Drawing on Sherry Turkle’s insights into digital identity and the psychology of virtual spaces, this course considers the synthetic realm as both a mirror and a distortion of the self. Game engines serve as a medium for creative production and critical inquiry, driving us to integrate our everyday perceptions along with our questions of identity, ambiguity, and identification.
In this workshop we will feature the game engine as main creative frameworks, to pile personal narrative on the boundary of virtual, reality and past, present, future. We delve into the art of emotional expression by translating our reality into the virtual realm, reorganising our experiences within the context of a game. In the first three and a half days, we’ll engage in in-depth art case studies and hands-on work, including 3D scanning and printing, character simulation, advanced particle systems, and 3D soundscapes in Unity, to integrate personal aesthetic experience gradually. On the last day of the workshop, students will present their Final Projects/Processes.

Where are we ? The act of listening is a political act as much as an activity to increase awareness of the present. Apart from experimenting with a variety of microphones and recorders (to make field recordings, capture found sounds and resonances) we will use the recording booth (to tell stories and record conversations). Inspired by the works of experimental music composers such as Pauline Oliveros, Alvin Lucier, Annea Lockwood, Hildegard Westerkamp and Christina Kubisch we will explore, excite, discover and record surfaces and spaces that we move within and create ourselves. We will discuss ideas by Vilem Flusser, Dick Raaijmakers and Donna Haraway and respond to current news. Participants will create sonic miniatures, sound collages and a radio show.

The rapid development of deep learning in recent years has led to the swift obsolescence of previous research. What was once a hot trend quickly became outdated, resulting in the abandonment of intellectual efforts in scientific research and the discarding of energy-intensive technologies. This semester, we will embark on an archaeological expedition into the recent past of AI generative models. We’ll collect this “old junk” and explore how to recycle it into new artistic projects.

Guest Professor Jenna Sutela

The class seeks to provide an inspiring environment for experimentation with a focus on computational and biological processes in the context of art. It empowers students to define and shape their roles in and with art at a time when technology permeates every aspect of our lives, within expanding and differentiating art fields, and amidst planetary and humanitarian crises.

Students develop individual projects that will be discussed together with the group and during one-on-one meetings. Support will be available for conceptualisation and presentation of work.

The seminar focuses on open systems-oriented art practice. It looks at biological and computational processes in and as artworks, while applying a holistic view to life and sculpture as part of an expanded ecosystem, including experimentation in scientific and technological contexts.

Including international guest lectures and exhibition/studio visits. We will also read together. The output of this seminar is a presentation on the seminar topic, which can take shape as an artwork or in writing.

Rooms GRU 19 & 20 and about town:
Wednesday October 16th, 10 a.m. – 2 p.m.
Wednesday October 30th, 10 a.m. – 1 p.m.
Wednesday November 20th, 10 a.m. – 3 p.m.
Wednesday November 27th, 10 a.m. – 2 p.m.
Wednesday December 18th, 10 a.m. – 3 p.m.

Online sessions:
Tuesday January 14th
Tuesday January 28th
Tuesday February 11th

The class seeks to provide an inspiring environment for experimentation with a focus on computational and biological processes in the context of art. It empowers students to define and shape their roles in and with art at a time when technology permeates every aspect of our lives, within expanding and differentiating art fields, and amidst planetary and humanitarian crises.

Students develop individual projects that will be discussed together with the group and during one-on-one meetings. Support will be available for conceptualisation and presentation of work.

Digital Education consists of education-about-digital and education-with-digital. 

How do we learn? This course explores the parallels and differences between human learning, especially in children, and how machines process information. Covering key concepts from cognitive science, psychology, and artificial intelligence (AI) and focusing on topics like repetition, trial & error, categorization, peer learning and education, we will learn how humans acquire knowledge over time and how these insights influence machine learning processes and models.

Language models. Speech-to-text. Text-to-speech. Voice cloning. Narrative artefacts. pyTorch. Talking heads. Magic books (Panchatantra. Tibetan book of the dead). Avatarization. Linguistics.

Things I can help You with:
Practicalities: AI / Machine learning. Large Language Models. Python. Unix. Raspberry Pi, Arduino, Microcontrollers & co.

+ questions concerning theory, philosophy and science

Das Filminstitut der UdK Berlin ist eine künstlerische Forschungseinrichtung. Schwerpunkte sind avancierte Filmarbeiten, Publikationen und Veranstaltungsreihen.

Sprechstunde mittwochs 10-12 Uhr in 26A
info@filminstitut.udk-berlin.de
tutor.in@filminstitut.udk-berlin.de

This seminar explores the multifaceted nature of masculinities, focusing on their relationship with violence, gender theory, and capitalism. Taking place every two weeks, students will have the opportunity to develop their own projects, culminating in an exhibition showcasing their work. We aim to critically examine how traditional notions of masculinity contribute to cycles of violence and are shaped by socio-economic structures.

The core of this seminar is the exploration of 16mm and 35mm film as an artistic medium and strategy. From the works of artists like Rosa Barba, Tacita Dean, Anthony McCall or Paul Sharits, film has found its way into artistic environments not only as a as a bearer of images but as an object in space.


Fr. 25.10.24, 10-12 Uhr
Fr. 8.11.24, 10-12 Uhr
Fr. 22.11.24, 10 - 14 Uhr
Fr. 6.12.24, 10 - 14 Uhr
Sa. 18.1.25, 10 - 18 Uhr
Sa. 25.1.25, 10 - 18 Uhr
Fr. 7.2.25, 10 -14 Uhr

Martin Pflüger
E-Mail: m.pflueger@udk-berlin.de

Technische Beratung und Betreuung der Studierenden bei Ihren AV-Projekten
Verleih von Kamera-, Ton- und Lichtequipment, sowie technische Einweisung in die Geräte


Raum 24 und 25
Mo - Fr 10-13 Uhr Geräteausgabe und - Rückgabe (nach Terminvereinbarung)
Mo - Fr Beratung und Betreuung (nach Terminvereinbarung)

Die AV-Werkstatt unterstützt die Studierenden bei der technischen Umsetzung ihrer Projekte. Hierfür ist die "Einführung AV-Werkstatt" erforderlich. Es werden am Anfang von jedem Semester 2 Einführungsveranstaltungen für neue Studierende angeboten. Darüberhinaus finden regelmäßig Workshops zu speziellen Themengebieten oder neuem Equipment statt. Außerdem steht ein Green-Box-Studio zur Verfügung.

Das Studium Planetare ist ein Pilotprojekt der Klasse Klima zur Integration von angewandter Klimabildung an Kunsthochschulen. Ab Oktober 2024 bietet das Projekt an der UdK eine Ringvorlesung und zwei Seminare an. Ziel ist es, Studierenden klimagerechte Bildung zu ermöglichen und neue Lernmethoden sowie erweiterte Wissensbegriffe zu erproben. Das Projekt adressiert die ökologische Verantwortung der Kunst- und Gestaltungsdisziplinen und entwickelt ein klimagerechtes Curriculum. Gefördert wird das Projekt von der Stiftung Innovation in der Hochschullehre.


Große Ringvorlesung »PERSPEKTIVEN«
Montags, 18 - 19:30 Uhr

Vertiefendes Seminar zur Vorlesung »POSITIONEN«
Dienstags, 10 - 12 Uhr

Seminar »PRAXIS«
Mittwoch, 14 - 18 Uhr