Willkomen!
Welcome!

Zum Navigieren bitte Pfeiltasten links/rechts benutzen.
To navigate, please use the left/right arrow keys.

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 Studierenden 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“.

Nachweis: Fachklassenschein (nur bei regelmäßiger Teilnahme)

Einreichungen für Förderinstitutionen schreiben
anhand der wichtigsten organisatorischen Schritte:
• Einschätzung der passenden Förderinstitution, Lesen von Merkblättern, Gespräch mit einerm Förderreferentin
• Definition der wichtigsten Textdokumente Anschreiben, Treatment, Director’s Note, Synopsis und wenn möglich als ersten Entwurf im Seminar schreiben
• FP und Budget als ersten Entwurf im Seminar erstellen

ORTE, SPIEL und INSZENIERUNG
In den ersten Sitzungen des Seminars werden anhand von Beispielen verschiedene Verfahren der filmischen Inszenierung und deren Umgang mit dem Raum erläutert. Im zweiten Teil des Seminars liegt der Fokus auf der praktischen Arbeit. Die Studierenden sollen auf Grundlage einer Vorgabe (die frei behandelt werden kann) dieselbe Szene mit denselben Darsteller*innen an drei verschiedenen Orten (öffentlicher Raum, privater Innenraum, Studio-Situation) inszenieren. Hierbei sollen die Wechselwirkungen und Notwendigkeiten, die Spiel und Inszenierung an den verschiedenen Orten verlangen, untersucht und erfahrbar gemacht werden. Die Teilnehmenden des Seminars werden gebeten nach Möglichkeit selber als Darsteller*innen bei den Inszenierungs-Übungen der Kommiliton*innen vor der Kamera aufzutreten.
Die Teilnahme am Seminar ist nur für Studierende der Fachklasse Narrativer Film möglich.

Drehbuchwerkstatt
Abgrenzung, Grenzpunkte, Entgrenzung. Grenzen prägen oder trennen durch soziale, wirtschaftliche oder kulturelle Unterschiede. Sie können vorgegeben oder selbst gezogen werden. Ausgehend von diesem Thema steht im Im Mittelpunkt des Seminars die Entwicklung eines eigenen Stoffes hin zum Kurzflim-Drehbuch.

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).

Film Looks & Color Balancing will be a hands on approach continuation of the tools that have been learned in the previous workshop, Introduction to Color Grading in Davinci Resolve. Over two days, participants will establish a look for their film and balance a sequence to cohesion. The workshop will take the shape of a working classroom, mixing in-person tutorials, lectures and assignments.

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.

The class “Experimental Film and 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.
Class meetings: Tuesdays, 10 am-1 pm, GRU 129.
New students should email ni.fischer@udk-berlin.de
A meeting for new students is on April 14, 2025, at 2:30 pm in Room 129 (bring work samples).

Contact

Prof. Nina Fischer
GRU 23
ni.fischer@udk-berlin.de

Artistic Research Assistant
Sabrina Labis
GRU 125
s.labis@udk-berlin.de

Student Tutor
Juyeong Park
parkjuyeong3701@gmail.com

An excursion to VIDEONALE.20 – Festival for Video and Time-Based Art in Bonn is planned for May 9-11, 2025. Students can attend the festival and participate in a student-focused weekend. A screening of student works will also take place.

Max. 14 students.

Travel and accommodation costs: approx. 120 EUR.
Registrations to s.labis@udk-berlin.de

This seminar explores filmmaking as a magical practice, inspired by Vilém Flusser's ideas. It includes a study trip to Sauen.
First session: April 24, 2025, 10 AM–1 PM, GRU 129 Study trip Sauen: May 19–23, 2025
Final session: June 26, 2025, 10 AM–1 PM, GRU 129
Max. 20 students.
Meal costs: 50 EUR.
Registration: s.labis@udk-berlin.de

This seminar explores the relationship between cities and nature, connecting ecological history with artistic practices. It includes excursions, workshops, and exhibitions.

Max. 20 students.
Bi-weekly on Wednesdays, 10 AM–2 PM.
Registration: parkjuyeong3701@gmail.com

This practical seminar introduces digital color correction and grading in film and video. Participants will learn key aspects of digital post-production, working with DaVinci Resolve, and color grading techniques. Own video material required.

Dates: May 3 & 5, 2025, 10 AM–6 PM
Location: GRU 29 / GRU 129
Max. 15 students
Registration: parkjuyeong3701@gmail.com

This block seminar focuses on practical camera work and technical fundamentals, exploring camera systems and movement.

Dates: June 13 & 14, 10 AM–6 PM
Location: GRU 129
Max. 15 participants
Language: German/English
Registration: drtill@drtill.de
Prerequisite: Practical camera knowledge

This hands-on macro photography workshop at Freie Universität Berlin focuses on photographing insects and small organisms. Participants will create artistic works for the Multispecies Campus exhibition. Basic photography knowledge required.

Dates: May 30–31, June 6, July 2–3, 2025
Max. 10 participants
Registration by April 28: l.kuschel@udk-berlin.de

Individual consultations for film projects, focusing on visual language and editing. Camera consultation for the "Sony Alpha 7S II/III" is also available.

Appointments: Tuesdays, 2:00–3:30 PM, Room GRU 125
Register via email: s.labis@udk-berlin.de

Theoretical and practical support for audio post-production in film projects, including narrative film, documentary, and video art.
Appointments available upon request.

Contact: c.obermaier@posteo.de or sound@poleposition-dc.de

Introduction to Editing Suites on Tuesday, April 22, from 5–6 PM
Meeting point: In front of Room 27A
This session is required for independent use of the editing rooms.

Contact: schnittplatz-tutoren@medienhaus.udk-berlin.de

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 'Rethinking time in response to the Anthropocene: From timescales to timescapes' [1], Bernadette Bensaude-Vincent argues that that the current global crises involve processes at such radically different timescales, that a single unified Western concept of time is limiting understanding, and proposes to consider the notion of 'timescapes' as a way forward.

In 'LIFE AS POLY-CONTEXTURALITY' [2], Gotthard Guenther proposes Polycontextural logic as a way to understand how conflicting logics that exist in different domains can be brought into play together. Here, the same object can have very different meanings in different context(ure)s, and thus serve as bridges between different subjectivities.

We will play with notions of multiple perspectives on time(s) and logic(s) by reading, discussing and developing ideas how these could inform artistic projects.

[1] https://hal.science/hal-03200703v1
[2] https://www.vordenker.de/ggphilosophy/gg_life_as_polycontexturality.pdf

Processes in the world happen in very different temporalities, from biological life to global weather, ocean cycles to sedimentation, and so on. In which respects extent is a single unified idea of time useful, and where is it limiting or even misleading?

Processes and other objects exist in very different contexts (or contextures), and may form bridges between seemingly unrelated contexts where different logics apply. How can we deal with a polyphony of times and logics, and explore them in artistic contexts?

We will read texts concerning Timescapes, time systems, and polyphony of ways of thinking about time; experience and discuss artworks dealing with time in unexpected ways, and experiment with these ideas in close interaction with Dis/Organizing Time.

In this project-based seminar we work together with Timescapes and Contextures seminar to work on different perspectives of how digital signals operate on time and work towards creating separate mini audiovisual worlds that are in the end assembled together to form a collective universe. Each individual or group work will result in a system that deals with a different timescale, combining as an instantiation of an emergent and potentially infinite installation/performance.

We will have a few explorative sessions on how to play with time using diverse coding techniques, explore non-standard ideas of sequencing, break the timeline by searching for time-based patterns that emerge in chaotic signals as in digital feedback circuits and find inspiration in the way programming, computers and algorithms deal with time.

The course explores the spatial representation of sound using loudspeakers. We listen to historic multichannel works and compose new pieces in the multichannel loudspeaker studios at the TU studio in Berlin.

Participants will create sonic miniatures and sound collages.
We will address different aspects of scale: How can we create and use proximity and distance in our own work? Course participants are encouraged to try out different strategies, make sound recordings in the field or at home, and integrate electronically generated and processed sounds into their experiments‚ from listening to and creating close-up textures to distant soundscapes.

Inspired by the works of experimental music composers and sound artists such as Pauline Oliveros, Maryanne Amacher, Max Neuhaus, Eliane Radigue, Elisabeth Schimana, Bob Ostertag, and Natasha Barrett, we will explore, excite, discover, and record surfaces and spaces that we move within and create ourselves.

When AI begins to dream, when game engines document geological time, when 3D scanning captures quantum states of memory—what new paradigms of being-in-time emerge?

This foundational course explores how digital tools can function as contemporary talismans, transforming text into temporal invocations that warp chronology, resurrect memory, and dissolve the boundaries between love and oblivion. By treating game engine and other platforms as sites of more-than-human collaboration, we will feature the unity and blender as main creative frameworks, to pile personal narrative on the boundary of virtual, reality and past, present, future. In the first three and a half days, we’ll engage in in-depth art case studies and hands-on work, including 3D scanning, AI generating & 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.

The iterative evolution of an organism creates a rhythmic structure of biological time — a tempo shaped not by clocks, but by cycles of growth, mutation, and emergence. Each iteration carries memory, difference, and possibility, echoing through generative loops that define the organism's form and behavior. Here, development is a choreography of feedback and adaptation, where pattern and variation co-evolve.
Artificial Embryogeny is a computational approach inspired by biological development, where complex algorithmic systems are not explicitly designed but instead grown from minimal, generative instructions. Just as DNA guides the emergence of intricate lifeforms through embryogenesis, this technique leverages developmental processes to evolve structure, behavior, and form.
For this course, we will explore algorithmic techniques rooted in biological poetics — drawing from nature’s logic and aesthetic — to initiate self-organizing, evolving systems. These systems, guided by encoded rules and developmental metaphors, will unfold into complex entities capable of adaptation, transformation, and emergent expression. Through code, simulation, and conceptual exploration, we invite a reimagining of creation — not as construction, but as cultivation — where digital organisms grow, mutate, and evolve within algorithmic ecologies. To engage with this rhythm is to listen to the pulse of artificial life, to see the time interwined into form, and to imagine systems that unfold like organisms — not built, but grown.

http://nn.cs.utexas.edu/downloads/papers/stanley.alife03.pdf

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 artwork.

Time-Based Art with Contemporary Technologies
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 artwork.

Continuing from last semester, 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.

Featuring guest lectures and exhibition visits. We will also read together. The output of this seminar is an artwork. Performance and text based formats are more than welcome, too.
The final projects will be presented as part of the Rundgang on 18-20 July, 2025.

Wednesday April 16, 10 a.m. – 2 p.m.
Wednesday April 23, 10 a.m. – 2 p.m.
Wednesday May 21, 10 a.m. – 2 p.m.
Wednesday May 28, 10 a.m. – 2 p.m.
Wednesday June 18, 10 a.m. – 2 p.m.
Wednesday July 2, 10 a.m. – 2 p.m.

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

We will do a peripatetic ("walking") seminar from Bad Sarow to Sauen. 

The seminar "Introduction to Psychology: On Anima and Other Archetypes" offers an interdisciplinary exploration of history of psychological thought. Beginning with mythological narratives like Amor and Psyche and philosophical texts such as Aristotle's On the Soul, the seminar aims to integrate cross-cultural perspectives—including animism, panpsychism, the Sāṅkhya concept of Ātman and Islamic / Judaic / Jungian models of "the soul". In case of good weather, some seminars will take place outdoor (medienhaus garden/terrace).

During this seminar, we will gradually transform space known as "R310" into an AI-extended space: a percieving space whose walls sing and speak memories in voices long forgotten. By focusing on sound, touch and smell and by depriving the audience on visual stimulation, and by stablishing ourselves on a thin layer between community-driven art and individual artistic expression, we will aim to create something akin 21st century Merzbau, "dark room" and a Plato's Cave. 

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

Reclaiming Cuts. Queering Institutions.
As political agendas and budget cuts continue to restrict the artistic avant-garde, "Wind of Change" emerges as a queer response to cultural erasure. The seminar explores "Cutting" as a queer method of institutional critique. By reclaiming the act of cutting as a creative gesture, editing becomes a political act of resistance. Using found and expired footage, the cut becomes a rebellious tool, where splicing, reordering, and reconstructing reflect the queer tradition of reclaiming and transforming oppressive systems. The project will culminate in a collaborative film that documents the research, process, and vision of a temporary Queer Institute.

„Zines foreground their porousness, therefore, their radical openness to, and dependence on, social activities that permeate them, extend beyond them, and actively set them in motion.“ (Janice Radway 2012)
In diesem Seminar setzen wir uns mit der Geschichte und Praxis des Zine-Makings auseinander und beleuchten dessen enge Verbindungen zu politischen Kämpfen, Subkulturen und Gegenöffentlichkeiten, sowie zu künstlerischen Ausdrucksformen.

Der Begriff der identity politics wurde in den spätem 1970er Jahre von dem Schwarzen queer- feministischen Combahee River Collective aufgebracht. Inzwischen wird Identitätspolitik für den Verlust universalistischer Werte ganz allgemein verantwortlich gemacht, ihr wird sogar die Verantwortung für den Erfolg rechter/faschistischer Bewegungen untergeschoben. Ist mit dem Konzept also nichts mehr anzufangen?

Anhand von Denk- und Mahnmalen in Berlin und Brandenburg beschäftigen wir uns im Seminar damit, an wen, was und wie erinnert wird (und wer oder was wird vergessen?). Wir fragen nach der Form und der Materialität des Gedenkens sowie nach dem Wissen, das ein Gedenken ermöglicht, aber auch nach dem Nicht-Wissen, ein Nicht-Wissen-Wollen, das ein Gedenken verhindert oder verdeckt.

Im Seminar werden wir untersuchen, wie sich Künstler:innen seit den 1960er Jahren mit dem Thema Care-Arbeit (Kochen, Putzen, Kinderbetreuung etc.) auseinandergesetzt haben.

Im Seminar diskutieren wir die Politik des sogenannten „educational turn“ in den Künsten und versuchen zu verstehen, welche Auseinandersetzungen sich in der Kontaktzone abspielen, die durch die Gründung all dieser „schools“ entstanden ist. Das „Instituieren“ von Räumen gemeinschaftlichen Lernens ist dabei genauso wichtig, wie die Intervention in bestehende Institutionen und Infrastrukturen des Wissens.

Künstler*innen der Gegenwart verhandeln historisch gewachsene wie immer wieder hochaktuelle Verschränkungen von Grenzziehungen und Migrationsbewegungen. Verschiedene Zugänge, Reflexionen und Transformationen sollen Gegenstand des Seminars sein und Ausgangspunkt für die Frage, wie unterschiedliche politisch, sozial und ästhetisch umkämpfte Grenzregionen unserer Zeit mit künstlerischen Strategien debattiert und erzählt werden – etwa die Mauer zwischen den USA und Mexiko, die Grenze zwischen Marokko und Spanien, andere europäische Außengrenzen, aber auch innerdeutsche Grenzräume.

In this seminar, we will take relationship between Bauhaus artist Oskar Fischinger and Walt Disney to investigate the history of abstraction in animation film.

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)