Sommersemester 2022.
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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.

 

Beginn: 26.04.2022

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“.

Beginn: 4.5.2022

LOOKING FOR TROUBLE – Interventionistische Filme

Nach Maads K. Mikkelsen zeichnet sich der interventionistische Film durch die aktive Teilnahme der Filmemacher*innen an der Situation vor der Kamera aus, indem er Reaktionen provoziert, sich auf Machtkämpfe oder Verhandlungen mit denjenigen einlässt, die an dem Film teilnehmen.

Bewusst werden neue Probleme erschaffen, anstatt alte (scheinbar) zu lösen.  In dem Seminar LOOKING FOR TROUBLE wird die Machtdynamik zwischen Filmenden und Gefilmten kritisch untersucht, sowie sich mit den Paradoxien auseinandergesetzt, die dabei erzeugt werden.

Beginn: 28.4.2022

In der Fortsetzung des theoretischen Seminars „Cinéma Vérité / Direct Cinema“ geht es nun schwerpunktmäßig um die Entwicklung und Realisierung eigener Übungen. Bei der Herstellung der dokumentarischen Miniaturen soll das situative Beobachten einstudiert, bei der Besprechung der jeweiligen Entwicklungsschritte das Augenmerk auf Dramaturgie, Ton, filmische Auflösung und Montage gerichtet werden.

Beginn: 27.4.2022

In this workshop we collectively intend to unbalance the lonely mind of the writer by any means, pictures, songs, words, physical movements, situations and even accidental comments. The course forms around some practical exercises, to develop from an idea towards writing the script.

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.

Auftakt 20.5.2022, 17 Uhr, R 207, Straße des 17.Juni

In den Künsten hat sich ein neues Genre durchgesetzt: die Autofiktion oder Autotheorie, in der man sich wieder auf ein „Ich“ bezieht. Dieses neu erwachte Interesse an der eigenen Person findet man nicht nur in der Literatur, sondern auch im Film und in der bildenden Kunst. Die Rückkehr zum Ich und seine sowohl fiktionale als auch theoretische Erforschung erstaunt nach den Positionierungen zum „Tod des Autors“, den Verflüssigungen eines als selbstbestimmt gedachten Subjekts und angesichts aktueller posthumanistischer Ansätze. Was ist das für ein Selbst, das in den künstlerischen Arbeiten wiederkehrt? Und welche Rolle spielt die Theorie, um dieses Selbst, das anscheinend opak und ungreifbar geworden ist, spekulativ und fabulierend zu erhellen?

Im Seminar gehen wir von Autor_innen wie Maggie Nelson, Chris Kraus, Dorothee Elmiger und Didier Eribon aus, nehmen Vorläufer_innen wie Friedrich Nietzsche oder Hélène Cixous in den Blick und fragen nicht nur nach der Aufnahme dieser Positionen in den Künsten, sondern auch nach neuen Schreibweisen, die sich für die Theorie ergeben.

Eine Veranstaltung des DFG-Netzwerks »Anderes Wissen – in ästhetischer Theorie und künstlerischer Forschung« in Kooperation mit Prof. Dr. Ebeling, weißensee kunsthochschule Berlin

Beginn: 22.4.2022

Ästhetiken der Sorge haben Einzug in die zeitgenössischen Künste erhalten. Sie zeugen vom Interesse an einer besänftigenden Wirkung von Kunst, an Ritualen der Tröstung und Heilung, die angesichts fortwährender sexistischer, rassistischer oder sozialer Gewalt- und Ausbeutungsverhältnisse geboten scheinen. Im Zeichen einer neuen Sensibilität grenzen sich diese Sorgepraktiken von Ästhetiken der Negativität ab und suchen nach künstlerischen Ausdrucksformen mit reparativer oder therapierender Wirkung. In ihnen findet man einen deutlichen Gegenpol zu ästhetischen Strategien der Riskanz, des Schocks oder der Grausamkeit wie sie in der Moderne dominieren.

Das Seminar geht den Genealogien der Idee einer Heilwirkung von Kunst nach, um nach den theoretischen Implikationen von Kunstformen der Sorge zu fragen und sie ins Verhältnis zu Konzepten des radikal Bösen, der Verausgabung oder Schwächung zu setzen.

Literaturhinweise: Gilles Deleuze, Kritik und Klinik, Frankfurt a. M. 2000; Hanna Engelmeier, Trost. Vier Übungen, Berlin 2021; Svenja Flaßpöhler, Sensibel. Über moderne Empfindlichkeit und die Grenzen des Zumutbaren, Stuttgart 2021; Michel Foucault, Die Sorge um sich, Frankfurt a.M. 1989; Bonaventure Soh Bejeng Ndikung, The Delusion of Care, Berlin 2020; Maggie Nelson, On Freedom. Four Songs of Care and Constraint, London 2021.

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.

1st date: Tuesday, April 26th 2022
last date: July 20th, 2022

For new registrations, please send an e-mail to ni.fischer (at) udk-berlin.de
New Students should come to an online meeting after the KUM semester introduction on Tuesday, 19th at 2 pm and introduce their works:
https://meetings.udk-berlin.de/b/nin-r9c-dox-bfc

The woman who flew into space from her apartment will unfold as a non- exhaustive survey offemale perspectives on science fiction in literature, cinema, and visual arts, attempting to highlight the unique narratives of empowerment—feminist, decolonial, and environmental—that have been too often overlooked, and that thrive outside the genre stereotype of intergalactic wars and narratives of scarcity or escapism.

In this practical workshop the participants will develop a multi channel videoinstallation (2-3 channels). We will focus on the technical workflows and possibilities- participants will learn how to edit a multi channel project in premiere pro, how to synchronize channels with network connected brights sign media players and we will examine and play with possibilities and effects working with the produced images on different screens, with monitors and projectors in the space.

The seminar will introduce an idea of animistic gestures as ecological practices. Soga will first introduce her findings through ethnographic art projects engaging with an indigenous community in Hokkaido, Japan called the Ainu. The students will be invited to sow seeds together and explore different ways of understanding what it is like to be a seed and a plant to develop different perspectives.

Beyond the deepening of technical foundations, we will focus on the composition of the image in time and space. We will discuss advantages and challenges of full-format / high- resolution digital film cameras, also with practical tests.

A DCP is the digital „film copy“ needed for projection in cinemas and film/video festivals.
In the workshop we will discuss the technical aspects of creating a DCP and also create our own DCPs. These will be tested in a cinema.

Analogue and digital workflows can be combined in ways in which their virtues complement eachother. The goal of this course is to present a practical overview of different stages of this hybrid process: Shooting 16mm film, hand development, “film-out” (exposing digital footage onto film), analogue editing and digitization will be the processes covered in this course to create a digital video.

Project discussion, camera consultation

Project discussion and camera consultation for film projects focussing on the visual language and the camera work.

In der Lehrveranstaltung POSTPRODUKTIONSBERATUNG bieten Christian Obermaier und Jochen Jezussek theoretische sowie praktische Hilfestellung für die Audio-Postproduktion filmischer Arbeiten aus den Bereichen Narrativer Film, Dokumentation und Videokunst an.
(Keine Scheinvergabe)

A collaboration between Experimental Film and Media Art, Universität der Künste (UdK, Berlin) and the Climate Crisis Network, University of Oxford.

On 3–4 June 2022, artists and researchers will be brought together in a symposium and film program to present their works and to expand the discourse on the topic of more-than-human perspectives. The program will explore current theories and art practices, as well as anthropological and historical perspectives, that take distance from anthropocentric standpoints, presenting alternative worldviews that highlight, instead, the strong collaborations and symbiosis among living beings, celebrating the autopoietic force of all living matter.

Die Klasse Generative Kunst/Computational Art befasst sich mit den Möglichkeiten, Programmierung, generative Strategien und Interaktion in verschiedenen Kontexten in künstlerischen Projekten einzusetzen; der Schwerpunkt liegt auf Echtzeit-Systemen, die komplexe Zeitstrukturen, Klang und Musik einbeziehen.

Im Plenum bringen alle Teilnehmer:innen Ideen, Skizzen, aktuelle Arbeiten in Zwischenstadien und interessante Arbeiten aus verwandten Gebieten ein und diskutieren sie.
In den Einzelbesprechungen diskutieren wir Konzeption und schrittweise Ausformulierung und Realisierung von generativen, interaktiven Systemen, Instrumenten, Installationen, Performances, und erproben mögliche Lösungswege.

Semester Topic: Basics and Projects
Summer term ‘22 is a time for both patient learning and avid making. On one hand, we will take our time to review the basics, and see which questions arise. On the other hand, we have a host of invitations to present a diverse range of works, which may well make up for all the public events/gatherings lost to pandemic conditions recently. 

Tutors:
Fang Tsai: fangtsai15@gmail.com
Chunli Wang 王淳俐 : jennywang079@gmail.com
Lukas Eßer: l.esser@udk-berlin.de

Who is afraid of sound, music and code? 

Sound/music is the mother of all time-based art forms, and thus taking the time to review the basics in full detail is a great way to acquire and solidify literacy in the central skills in this domain. 
We will learn about numbers, characters, strings, collections; vibration and sound physics, perception, and psychoacoustics; sound processes, modulation, filtering; musical concepts like pitch, harmony, duration and rhythm; and learn to use code to tell networks of other people and machines what we want them to do, and how! 
Language & platforms used: SuperCollider, the JITLib ecosystem, and OpenSoundControl to connect to the world.

Summer term ‘22 is a time of numerous opportunities for GenComp to present a diverse range of works, which may well make up for all the public events/gatherings lost to pandemic conditions in the past 4 semesters.
Our calendar is already filled with ca. biweekly dates, ranging from prominent UdK events initiated by the president’s office to a full day of radio art by S4NTP for the EU Cultural Capital Esch/Luxembourg, to FutureVoices revivals and cozy concerts. 
In Hybrid Systems, we take our time to prepare for all these events in all their variety of conceptual, artistic & technical questions.

The poetry of translation and misunderstanding, of stuttering, repetition and chance operation, serves as a guide through different landscapes, languages and texts. We will create sonic miniatures, listening walks, recordings, and along the way, take advantage of the recording booth and the sound studio at the Medienhaus. Participants should be interested in creative listening, text scores, in working with the voice and text, in experimental music and radio, in recording, composing, and editing audio. Any language is welcome.

This is the second iteration of Fall online course where we'll try to bring in physical space our experiments on fusion of mind-body theories with machine learning and transposition of such ideas into the realm of cybernetic ecosystems. We're planning to place an artificial agent in a real sonic space environment and to see how it will arise from the initial state of protoplasmic randomness into the sculpted awareness of the complexity of the ecosystem. Through the limitation of its own artificial body and sensory system the agent can explore the environment only on the phenomenological level. We'll focus on the reinforcement learning method which is based on the agent-environment dichotomy. And we still keep the question if the machine (algorithm) is aware of its own existence in the certain environment? Or is it aware of its own "consciousness"?  We try to answer the later questions with the usage of Python code.

Beneath the flickering light of the screens, the game has become a bridge, connecting people with each other and everything else. From one-dimensional knobs and buttons, to three-dimensional VR Glasses and controllers, the evolution of interactive devices reflects a persistent desire to shorten the gap between virtual and reality. In this Block Seminar we will feature the game engine as main creative frameworks, to pile personal narrative on the boundary of virtual, reality and past, present, future.
Through practical work with basic lighting, skybox, materials and fly cameras, to integrate personal aesthetic experience gradually. Achieve the final project by various formats of distribution. The last day of this seminar you will be sharing your Final Projects/Process.

What is music? What is sound art? Or music theatre? Klangkunst? Who said what music was? What do you think music is? What has been recognised as sound art/music/musical theatre, and what has not been recognised in the cultural context?
We share and discuss how humankind has made sound into art in this seminar. Different cultures have different paradigms for how sound has been handled. We work on a wide range of translations and reinterpretations of the various paradigms. We also briefly discuss the concept of sound and time from various fields to contain different perspectives. Ultimately, the goal is for participants to elaborate their artistic philosophy of time, sound, and music and merge the philosophy into generative art. The philosophy here is not just knowledge but the thought of seeing the possibility: the future. Let us have fun thinking and feel it!
(no seminar on 13th May)

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

Goal: Deepen Your ability to build, make, program and optimize solar-powered digital artefacts.

Content: Solar energy. Photovoltaics. Microcontrollers of 2nd generation (Daisy Seed, RP2040, Arduino Nano Connect). E-ink. Machine Learning. TensorFlow Lite. Gartenzwerge. Plants.

Methods: Outdoor On-Line Teaching. Collaborative making, up-cycling & coding.

TOPIC :: We breath oxygen they produce, they nurture us and heal us, they colours and aromas make our lives beautiful and worth living: verily, plants, herbs and weeds our humanity's most important allies. In this course, we will observe how they grow: from seedling to blossom and from blossom to death.

In diverse gardens and parks of Berlin, we will pursue UdKs Tradition of "Pflanzenkunde", read and discuss Goethe's theory of botanic forms and apply a "phenomological" observational method in order to get as close as possible to "essence of the plant"; subsequently, we will to observe the botanic realm by means of an "impressionist" prism in order to (try to) understand why Alan Matthison Turing spent last days of his life studying botanic phyllotaxis.

And maybe, just maybe, we will obtain inspiring insights into the content of a so-called "Voynich Manuscript", one of last Enigmas of medieval Europe.

PRAXIS :: During practical part of the course, You will use state-of-the-art digital technologies (e-ink tablets, 3d scanners, holographic displays) to protocol morphogenesis of at least few plants of Your choice.

COMMENT :: The seminar is also an experiment in so-called "outdoor on-line teaching" and many new didactic innovations will be deployed for the first time. In case of good weather, seminars will tend to take place outdoor in different gardens (Botanischer Volkspark, my own garden, Berlin Open Lab Garden, Botanischer Garten Berlin etc.), in case of bad weather, seminar will take place indoor (Medienhaus R311) or digitally.

BIBLIOGRAPHY ::

The voynich manuscript (author unknown)
Versuch die Metamorphose der Pflanzen zu erklären__(J.W.Goethe, 1790)
Ding und Raum (Edmund Husserl)
Turing, morphogenesis, and Fibonacci phyllotaxis (Swinton, 2013)
Herbarium of student's choice

LEISTUNGSNACHWEIS ::
1) digital Herbarium with at least five plants
2) planting a sunflower and counting its seeds

We look critically at the emerging trends in digital media and culture. Instead of focusing on specific tools, our ethos is to question the status quo and experiment with possible futures.

Carte blanche stands for an "unlimited discretionary power to act”. This power comes with the responsibility to define and justify your work, instead of relying on a collective theme for the class. Traditionally the free project prepares for the final thesis as an independent work outside a studio class context. Taking place one every 3-5 years, at least one free project is intended to fit from BA to MA before graduation.

This semester, the topic being free, we want to focus on the process: how to keep track on your thought process, how to communicate, and how to build experiments as a way to inspire, enrich and advance your conceptual work. The knowledge that defines the work that exists in theory, in the making, in prototyping and presenting, as well as the class as a group, is put to the foreground. Our weekly sessions will serve as a framework to structure the development of a free project, without setting a thematic corset.

The succesful completion of the course expects regular attendance, final presentation, project documentation uploaded to the class website.

As artists we are confronted daily with the translation of what we imagine with what is materialized through our practice. Often both realms collide into one single process of research, where thinking takes shape, uncannily, both within our minds and within the matters we touch with our hands. This setting is evermore generative if we consider the field of new media, which par excellence, concerns itself with the creation and critical reflection of new technologies of communicating, feeling and sensing the unknown present and future.

But how can the matters of our own thinking translate, negotiate and modulate the matters in our hands? When it comes to art, design, and technology, how does the "new" emerge and take shape?

The course will act as a playground for experimentation and critical reflection. During the semester, you will be asked to iterate weekly on the development of a project either initiated within its scope, or from within your Fachklassse. On the one hand, this will happen in practice by means of artistic/technical experiments and prototypes; and on the other hand, by means of writing and reflecting on what you do.

We will get in touch with a few key examples and texts on design/artistic research as well as on media theory in order to infuse and widen how you develop your own work. During our weekly meetings we will collectively discuss your work - technically, artistically and conceptually - with a strong focus on your own process of discovery and generation of novelty through the technologies at your hands.

Students from all courses are welcome to attend, including through Studium Generale. The practice-and-theory course is able to award credits in theory or practice depending on the outcome of the seminar (paper or finalized project).

In this course, we will extend existing software by writing scripts in python. The focus is on the process of interaction with the API, documenting, journalling the process and sharing notes; rather than on how to code in python. Many design tools (from Adobe Creative Suite to Cinema4D) today have a powerful programming API for Python. The course is not on any particular software, although we will consider the Blender 3D python API to have a reference that we can share in class. You are free to use every software as long as it has a python API.

AI, NFT, Cloud, IoT. Our digitally naïve society stands in amazement before all the idols of digital technologies. Suddenly they were there,on the altar of our marketplaces and discourses and at the centre of our attention,

But these technologies are based on simple basic principles and generalised building blocks that neither can do magic nor are magical. Mercantile techno-optimists tell us otherwise and transfigure simple technical functionalities into magical marvels. According to them, we can store our family photos in a vacuum, light bulbs and refrigerators form telepathic connections and the future of art is a long sequence of numbers.

In this seminar, we will work our way through the buzzword potpourri word by word, scrutinise the technologies behind them and demystify them in artistic-creative experiments. Lectures, external subject-specific input, discussions and related texts will help us to approach, understand and classify the respective topics. We will take an artistic and creative stance on the dissonances that arise in the process. Each of the four topics - Cloud Computing, Internet of Things, Artificial Intelligence and Non-fungible Tokens - will be dealt with in the context of a short etude. We can adapt the list of topics according to interest. Process and experiment are in the foreground. The medium to be used is open to the students.

Der Lehrbereich beschäftigt sich mit den Gestaltungsfragen von bewegten Bildern. Hier entstehen filmische Arbeiten für unterschiedliche Themen, Anlässe, Formate und Anwendungen.

Wir werden uns im Sommersemester mit äußeren und inneren Bewegungen auseinander setzen und untersuchen wie diese filmisch dargestellt werden können. Wie bewegt sich die Kamera und wie das Objekt oder Subjekt, wie verhalten sich diese zueinander und was drückt das aus? Und wie lassen sich Emotionen in bewegte Bilder übersetzen?

Von Di 24.05. bis Fr 27.05.2022 ist ein Workshop auf dem Gutshof Sauen zusammen mit dem MA Studiengang Film-Kostümbild geplant.

Ergänzend zum Semesterthema „motion/emotion“ der Bewegtbild-Klasse führt dieser praktische Workshop in unterschiedliche Stabilisierungssysteme und -techniken für bewegte Kameraführungen ein.

Nur für Teilnehmer*innen der Klasse Gestaltung des bewegten Bildes.

Die Teilnehmenden lernen die Gestaltungsgrundlagen von Film und Video kennen und erproben diese in der praktischen Arbeit. Sie erhalten Einblick in das breite Feld der zeitbasierten Medien, eine Einführung in die Geschichte und Theorie des Films und der Medienkunst sowie Beratung und Hilfestellungen bei der Planung und Umsetzung ihrer Videoprojekte. Das können performative, dokumentarische, narrative oder gestalterisch-experimentelle Arbeiten sein mit reinen Realaufnahmen oder animierten Elementen.

Der praktische Umgang mit Kamera, Licht und Ton (Thomas Kutschker) sowie der digitalen Film- und Tonmontage (Magdalena Kallenberger) werden begleitend in Workshops vermittelt.

Offen für Studierenden von KuM und VK ab dem 2. Semester.

Die Studierenden erlernen Technik und Gestaltungsmöglichkeiten der digitalen Film- und Tonmontage in Premiere Pro.

Teilnehmer*innen von Grundlagen Bewegtbild I haben Vorrang.
Interessierte Studierende melden sich bitte via E-Mail an.

Die Studierenden erlernen die technisch-praktische Handhabung von Videokameras, Mikrofonen und Licht und deren Einsatz- und Gestaltungsmöglichkeiten.

Teilnehmer*innen von Grundlagen Bewegtbild I haben Vorrang. Interessierte Studierende melden sich bitte via E-Mail an.

The seminar aims to introduce the history and mythological references of gender roles in Hindi language films and the representation of queer identities in classic Bollywood productions and television series as well as in independent films from India. The seminar will involve lectures, film screenings, discussions and individual consultations. Participants should analyse and re-enact short film sequences from classic Bollywood movies. For example, gender-specific gestures, body language, special clothing features, symbols and accessories can be taken up and put into a new setting.

The seminar is sponsored by the incentive system of the women's representatives of the Faculty of Design.

Die Projektgruppe hat sich aus dem Produkt- und Industrial Design entwickelt. Dabei wurde das Gestalten von Objekten durch das Gestalten von Interaktionen abgelöst.

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

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

Cross-disciplinary positions on human/machine-fusions in contemporary art

Very recently, the cyborg has been used in parts of social science including feminist theory as a tool for understanding a world that is taken to be relatively non-coherent at both individual and collective levels, and yet filled with systematic inequalities. In this incarnation, the cyborg becomes a hybrid figure that is only partially coherent. It blurs the boundary between reality and fiction, thereby acting as a vehicle for radical political agendas.

The seminar has four parts

(1) lecture & reading sessions
(2) individual artwork development
(3) field trip to Sauen and guest lectures
(Stelarc, Neil Harbisson, Kaye Mitchell)
(4) exhibition

The seminar results in a public exhibition of the developed artworks.

The goal of this course is to present a practical overview of different stages of this hybrid process: Shooting 16mm film, hand development, “film-out” (exposing digital footage onto film), analogue editing and digitization will be the processes covered in this course to create a digital video. The course will take place in two five-hour long blocks and a shorter four-hour session. The students will produce a short experimental film which will be projected in June as part of a film screening from the Filminstitut.

TOPIC :: We breath oxygen they produce, they nurture us and heal us, they colours and aromas make our lives beautiful and worth living: verily, plants, herbs and weeds our humanity's most important allies. In this course, we will observe how they grow: from seedling to blossom and from blossom to death.

In diverse gardens and parks of Berlin, we will pursue UdKs Tradition of "Pflanzenkunde", read and discuss Goethe's theory of botanic forms and apply a "phenomological" observational method in order to get as close as possible to "essence of the plant"; subsequently, we will to observe the botanic realm by means of an "impressionist" prism in order to (try to) understand why Alan Matthison Turing spent last days of his life studying botanic phyllotaxis.

And maybe, just maybe, we will obtain inspiring insights into the content of a so-called "Voynich Manuscript", one of last Enigmas of medieval Europe.

PRAXIS :: During practical part of the course, You will use state-of-the-art digital technologies (e-ink tablets, 3d scanners, holographic displays) to protocol morphogenesis of at least few plants of Your choice.

COMMENT :: The seminar is also an experiment in so-called "outdoor on-line teaching" and many new didactic innovations will be deployed for the first time. In case of good weather, seminars will tend to take place outdoor in different gardens (Botanischer Volkspark, my own garden, Berlin Open Lab Garden, Botanischer Garten Berlin etc.), in case of bad weather, seminar will take place indoor (Medienhaus R311) or digitally.

BIBLIOGRAPHY ::

The voynich manuscript (author unknown)
Versuch die Metamorphose der Pflanzen zu erklären__(J.W.Goethe, 1790)
Ding und Raum (Edmund Husserl)
Turing, morphogenesis, and Fibonacci phyllotaxis (Swinton, 2013)
Herbarium of student's choice

LEISTUNGSNACHWEIS ::
1) digital Herbarium with at least five plants
2) planting a sunflower and counting its seeds

The seminar introduces a mixed method – including e.g., theoretical contributions of cultural studies, popular music studies, and applied linguistics, and analytical tools of computer-mediated and multimodal discourse analysis – that will be applied for the analysis of music-related online communities. The main emphasis will be on finding evidence for belonging and togetherness, and expressions of collective and individual identities on such platforms.

Achim Sieloff

E-Mail: sieloff@udk-berlin.de

Technische Betreuung und Unterweisung der Nutzer*innen der AV-Geräte.

Mo-Fr Raum 24/25 nach Terminvereinbarung

Betreuung der technischen Umsetzung von AV-Projekten, Verleih von Geräten zur Video-/Film-/Tonaufnahme und Betreuung des Greenscreen-Aufnahmestudios.

Voraussetzung ist die rechtzeitige Projektbesprechung und -anmeldung. Für die Geräteausleihe sind grundsätzlich Terminbuchungen notwendig. Anfragen zur Verfügbarkeit/Buchung bitte persönlich in Raum 25 oder telefonisch (3185-1238) während der Öffnungszeiten der Geräteausleihe (siehe Aushang).

Für neue Studierende ist die Teilnahme an einer Einführungsveranstaltung in die AV-Werkstatt Voraussetzung für die Nutzung der Geräteausleihe. Bitte persönlich oder telefonisch (Raum 24, Tel. 3185-1232) bis spätestens 29. April anmelden.