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.
Semester Topic: "Turn Up the Quiet: Emerging Backgrounds".
Recurring lockdown conditions worldwide make many activities difficult or impossible, thus silencing the foreground. This allows us to redirect our attention to the emerging "backgrounds"; phenomena that were already there, but were not deemed important enough to register consciously.
The semester topic will be addressed from contrasting perspectives in multiple courses in our context.
Der Themenschwerpunkt "Artificial Individualism & Coded Collectivity" wird gemeinsam mit den Seminaren Code Experiments; Hybride Systeme; Audiovisual Programming; Space, Environment and Context; und Performance Environments fortgeführt und vertieft. Deshalb empfehlen wir ausdrücklich, mehrere dieser LVs zu besuchen. Weiters wird der Besuch von Anita Jori's Leseseminar "Vampyroteuthis infernalis" empfohlen.
Artificial In/Decision Making and Coded Collectivity
"Only those questions that are in principle undecidable, we can decide." Heinz von Foerster, Ethics and Second-Order Cybernetics (1991)
Decisions are difficult in many ways: Individuals almost never know all relevant context, and thus have to decide based on incomplete knowledge. Groups need to decide together about things that concern them, and need ways of negotiating diverging interests. Artificial intelligence is often applied to provide expert analyses, in order to find and justify decisions that hopefully seem reasonable.
In this course, we will study communities of creatures, and make computational models of possible ways they make decisions, and the ways they organize their collective activities. Starting from an existing network installation piece* will allow us to proceed quickly to complex experiments.
These studies will inform a larger group project: Creating a complex installation of hypothetical deep sea creatures, inspired by the philosophical/biological fiction "Vampyroteuthis Infernalis" by Vilem Flusser & Louis Bec. While this course focuses on the interactions of such creatures, the individual aspects are being explored in the parallel Hybrid Systems course.
Im Plenum bringen alle Teilnehmer:innen Ideen, Skizzen, aktuelle Arbeiten in Zwischenstadien und interessante Arbeiten aus verwandten Gebieten ein und diskutieren soe.
In den Einzelbesprechungen diskutieren wir Konzeption und schrittweise Ausformulierung und Realisierung von generativen, interaktiven Systemen, Instrumenten, Installationen, Performances, und erproben mögliche Lösungswege.
Plenum Di 14-17h
Einzelmeetings Mo/Di nach Vereinbarung
Re-dis-covering the origins of our highly sophisticated computer & SW arts practice, we move along it's 'Tree of Life' - the history of electronics and IT from the rudiments of plain electricity all the way to modern soft- and hardware.
Departure point for this course is the recent network installation UTopologies* with it’s eight futuristically shaped objects/agents set up in our class room. These have raspberry brains, microphone ears, express themselves by sound and light, while being in constant interaction with each other through a LAN network. In the course of the semester, we will breed more and more individualized specimens, with new and different body shapes, limbs and organs, motoric and perceptual talents, memory, learning ...
While individual form and behavior are modeled one by one here, the social behavior patterns that emerge from the interactions of these individuals are the focus of the parallel seminar Code Experiments.
The practice of creating sound and music with computers is informed by knowledge from many domains: physics, psychoacoustics, psychology, musical culture, sound synthesis, just in time programming, and sonification, among others.
We will revisit the core elements of these bodies of knowledge in simple practical experiments, thus cultivating the sharing of working knowledge between participants.
We will focus on investigating the questions that arise together; any question can become the kernel of a little study piece, and may well turn into an idea for something larger; for instance, a playable instrument based on sensors; a reconstruction of a piece from the canon of computer music; or building blocks for complex synthesis.
Proponents of the current algorithmic revolution promise large benefits from "smartifying everything", from household things like fridges to cities.
- Who exactly benefits from which new smart systems?
- What exactly is being newly connected and how?
- Which unconnected systems would be worth trying to connect?
- Which things are or will be connected but should not?
To better understand what becomes im/possible when we connect X to Y, we will experiment with connecting mixed little systems into larger networks. Due to online semester constraints, this will begin with online network music/AV systems, and include other elements (mechanics, sensors, feedback, machine observation) depending on what students have available.
We will study the phenomenon and practice of appropriation on all levels available to us:
- quoting in scientific writing
- literary techniques like cadavre exquis
- movements&manifests like antropofagismo / tropicalismo
- motif appropriation in music
- audio sampling in modern music
- famously (non-)litigated cases of plagiarism (Guttenberg, Vanilla Ice, The Amen Break by The Winstons)
- Linus Thorvalds, the open source movement, the git / GitHub ecosystems
For group practice, we will scour all available resources of SuperCollider code (help files, tutorials, tweet, scdoc, scsynth, ...) and assemble everything good-sounding in a massive *GTA library*. For compatibility between the pieces, we will design an ultraflexible infrastructure that uniformely digests all the various code snippets with minimal modifications, and makes them all accessible for playing with various interfaces by means of auto-mapping. Or in a different metaphor, we create an ecosystem / environment where all the code can live and communicate with us.
We dedicate the Code Experiments class to expand the FutureVoices online radio project, which continues until Jan. 2022. We will:
create campaigns to invite more contributions and expand our database
compose new pieces/movements for the stream
invite guests to compose movements as larger contributions
organize "takeover days" with members and guests
devise strategies to document the project
Dates: April 14, 28, May 12, 26, June 9, 23, July 7
In model worlds, the options for causality are:
- parallel -> causality remains, content differs.
- orthogonal -> predictable <--> random
- diagonal -> mixed between the two cases
We will study these by live coding and data streams in multiple topologies.
- Performance/installation in Zilina/Slovakia (June),
- Daily radio show at Savvy gallery (June/July)
- Installation/performance NoVilla (June-Sept)
In this semester, we will read texts by Ramon Llull & Peter Cariani, and build little systems based on their ideas, in order to study how combinatorial systems can be invented and applied; how they allow to explore possibility spaces; and how and when they transform our understanding of the worlds they create.
We will work on a realization of Alvin Lucier’s seminal piece "Music for Solo Performer" for amplified brain waves and percussion instruments.
Along the way we will look at different versions and investigate which aspects of the original idea can be transformed and further developed to create new work.
How do you listen to languages you don't understand or to sounds you cannot place in context? Students explore different modes of listening to create their own sonic landscapes and immersive sound environments. Using the voice, field recordings, electronically generated and modified sound or a piece of paper and a pencil, sonic miniatures will be created that can stand for themselves but that also can be integrated and further explored in other projects, from 3D virtual reality to deep sea underwater worlds.
Along the way we will discuss pionieering works by composers of experimental and electronic music, such as Maryanne Amacher and Pauline Oliveros. The course includes some reading, listening, sound recording and sound editing.
Im Plenum werden Ideen, Skizzen, aktuelle Arbeiten in Zwischenstadien und interessante Arbeiten aus verwandten Gebieten eingebracht und diskutiert. In den Einzelbesprechungen werden Konzeption, schrittweise Ausformulierung und Realisierung von generativen, interaktiven Systemen, Instrumenten, Installationen, Performances diskutiert und mögliche Lösungswege in Skizzen erprobt.
In "Sensor and Sensibility", we focus on "in time" data aquisition strategies, from the conceptual levels down to the hands-on-work of designing and building interfaces and sensing devices, be it for your next DIY-digital-music-instrument, for installations responsive to air pollution or for a CV system that reacts on frowning faces of passersby: make sense, bring in your own project and realize it!
--¡¡ changed from VDL listing due to current online-teaching condition !!--
What things would we like to grow exponentially?
Where would we be happy if trend curves were un-flattened?
In the Hybrid Systems course, we go viral with a very harmless, but massive data collection, aquiring voice recordings from our social network. Compiling them in a database, we will create algorithms that sequence them into a continuous collaborative sound stream that can become a permanent broadcast: The voice of the multitude.
The Society for Nontrivial Pursuits has won the open call for next year's Kontinuum generative sound stream: ctm kontinuum
We will invite people worldwide to give voice to what they expect, hope, or fear for the future. Both radio and internet began as projects for two-way communication – hopes were high that everyone would be given a voice. The radio quickly became a one-way mass medium that played a central role in 20th century dictators grabbing power, while the internet has drifted toward hyper-monetization, citizen surveillance, and extremism. The attention economy embodied in the rating mechanisms of most social media favors loudness and conspiracy theories, creating filter bubbles and digital tribes, while a multitude of less provocative individual voices tends to get lost in this flood... (continued on following page)
Recurring lockdown conditions worldwide make many activities difficult or impossible, thus silencing the foreground. This allows us to redirect our attention to the emerging "backgrounds", in effect, "Turning Up the Quiet”, toward phenomena that were there all along, but were not deemed important enough to register consciously. We will:
- Find, record, document newly emerging silences/still atmospheres (soundscapes)
- Think, discuss, consider: How to create quiet atmospheres ?
- Experiment: record, analyse, recreate, synthesize and stage them
- Move into "empty" environments and gracefully explore their acoustic niches with
Sono-aviatics - (the art of letting sounds fly in the air) and Dracosonics (the art of flying sound kites),
e.g. at Tempelhofer Feld and newly closed Tegel airport
* Ivan Lins, Gilson Peranzetta, Paul Williams, Love Dance (1988)
Dates: April 21, May 5, 19, June 2, 16, 30, July 14
We will develop connectable SW/HW modules to serve a variety of world making purposes to further blur the boundaries between fixed production, installation and live performance by human and machine assemblages.
Ramon Llull builds a whole world explanation system upon permutations of divine categories. Peter Cariani observes that permutation is the most common way to create novel things, ideas or artefacts; but only _very_ rarely will categorically new things emerge that extend the alphabet of available primitives to permute.
In our semester course we want to look at these phenomena from our (computational) artistic practice: How do we bring together unforeseen things in our imagination? Aren't our software tools the optimal recombinant machines?
Assuming no technical background whatsoever, this intensive four-day workshop guides the participants through a series of sound-producing electronic construction projects, from making simple contact microphones to building circuits from scratch. The emphasis is on constructing inexpensive but versatile electronic tools that fill the gaps in computer-centric music production.
“Nil humani alienum puto” - nothing human is alien to me
In this course we build virtual creatures and their habitats. We will read texts from the fields of Phenomenology (the study of our experience) and Epistemology (the study of knowledge) and Xenobiology (a form of biology that is not found in nature).
The course can be integrated with Anne Wellmers course “sonic immersion”, in a way that the soundscapes students create in Anne Wellmer’s course can be applied to the virtual creatures and worlds.
Artificial intelligences raise both great expectations and fears - what are they good at, where do they fail, what are the potential benefits and risks?
We will read current essays on these topics, and build little systems that set up communication between humans and machines, in order to explore simple forms of hybrid intelligences (or stupidities).
Beside creating individual pieces based on them, these experiments also provide ideas for evolving the behaviors of the creatures that form the UTopologies/Deep Sea network installation, which will be on show at State Studio Gallery during the semester.
In how far is meaning related to context? Our point of departure will be pioneering works of conceptual artists and composers of experimental and electronic music in Europe and in the US, such as Maryanne Amacher, John Cage, Christina Kubisch, Alvin Lucier and Dick Raaijmakers. How does each of these artists understand the world and describe the creative process?
Students will explore different methods of creating scores for their own work. There will be some reading required. The course will be held in English.
"The electrical device essentially differs from the mechanical in that its components do not move. Movement implies freeing oneself from the ground in some way or other." Dick Raaymakers, the art of reading machines (1978 / 2008)
We will use texts and voice, toys and microphones, antennas, computers, generated sound, recorders, radios, and loudspeakers to compose sonic miniatures and sound collages. Every week each participant creates a one minute long piece. Course presenations will take place as a podcast and a radio broadcast. Participants should have a pair of headphones, an interest in creative listening, experimental radio, composing, editing and mixing recorded and generated materials and have basic experience in using portable sound recorders and editing software (daw).
Reading will include Roland Barthes, Lewis Carroll, Christina Kubisch, Dick Raaijmakers, Arundhati Roy and Susan Sontag.
In Hybrid Systems, we will develop this piece collectively in all its conceptual, artistic and technical aspects, adapting and extending the infrastructure for last semester's JaMoP course and project:
• translating the invitations to the languages we speak
• devising strategies for spreading the invitation to the contributors
• building the website for contributions
• creating a starting collection of future messages in the languages we speak
• forming a team for reviewing incoming messages
• creating a variety of sonic generators for composing the stream episodes
Official start date of Future Voices / Zukunftsmusik at ctm/Kontinuum:
17. 01. 2020 art's birthday
Apart from the absence of sound, what does the word "silence" mean in different contexts or in different languages? Which expressions or synonyms do we have available to describe silence? John Cage (1912–1992) published a collection of lectures held between 1939 and 1958 in his book called SILENCE in 1961. In the spring and summer term of 2021 we will read texts from this book and use some of Cage's strategies to create performance lectures of our own. Assignments will include taking a walk, the search for noise and silence, and telling a story.
new course address
OLD : https://udk.baumhaus.digital/b/ann-j37-wgv
former course projects
We will try to unite realtime computer graphics with synthetic sound using the softwares Unity and SuperCollider. The goal is to try many different techniques and each week build a little interactive composition that explore the relation between image and sound.
The course will be will be taught in English and will be easier to follow with a bit of background in computer programming. Bring your own laptop!
The theme this semester is patterns - both in sound and in graphics - both in time and in space. We will experiment with rhythm and repetitive melodic structures in music, build worlds by arranging simple objects in 3D and in general learn how to code algorithms that generate interesting patterns. Unity and SuperCollider are the software we will focus on and the course will be will be taught in English. Bring your own laptop and headphones.
Artificial intelligence is currently discussed broadly amongst the tech and art communities. What is the state of the development?
What is AI, where is it used and where will it be used soon?
In this course we model virtual worlds (sonic or visual) and look at the meaning of AI for future applications and worlds.
The invention and development of simulation devices gives space to ambiguous interpretations of the ontological nature of simulation itself: Cembali were invented as a mechanical simulation of a lute, pianos simulated cembali, synth keyboards simulated pianos, …, each time focussing on the emulation of the previous, yet almost inadvertently opening up unforseeable possibilities that extended the known musical spectrum.
What forms of dialogue arise between a communicating ensemble of electronic bodies and a group of humans over a long time?
During this semester, we have the rare opportunity to foster, nurture, and groom an existing family of hybrid intelligences, created for the successful DeepSea exhibition for ctm Vorspiel.
The network of algorithmic objects will be installed on public display at State Studio Gallery during the semester: as a work-in-progress, we are invited to reconsider behavioural and aesthetical aspects of the existing bodies, create new spin-offs (in cooperation with Christian Schmidts from UdK's Architecture Department) and integrate autonomous objects into the network.
The Turing test gives us ability to investigate the simulation of intelligence. NN algorithms used in modern AI methods demonstrate very advanced level of simulation of different natural activities including activities which involve the solving of cognitive tasks. The success of Turing test depends on intellectual capacity of observer (lower intellectual level of observer gives more successful results for AI system in Turing test). Our task is gonna be the investigation of nature of simulation of NeuralNet. But rather than simulation of cognitive activities we're gonna simulate natural sonic environments and produce "field recording" which place can be easily found with precise coordinates in latent space of sonic feature rather than in real world. Why not to use some technologies that has in its name two words like "Artificial" and "Intelligence" to produce something that looks and sounds not artificial neither intelligent. Let's have Turing test for listener.
This seminar takes the scientific method, one of the most innovative inventions humans have created for exploring ideas and constructing knowledge, and applies it to artistic practices of research and production. What are the processes by which we investigate our conscious experiences in art and science? What can these disciplines learn from one another and how can we open up the ways in which we generate research questions and conduct experiments to explore the unknown - the X? Our aim is to investigate the cognitive realm - our conscious and subconscious thoughts and emotions – using an interdisciplinary methodology inspired by empirical insights from cognitive science and artistic modes of production. Together we will create new modes of experimentation and challenge the notion of the “laboratory.” During the seminar you will have the chance to develop and test experimental paradigms and stimuli. Come with questions, prepare yourself to tackle problems, and enjoy the process. Dr. Marjan Sharifi will be your guide through exploring the X. She is a highly experienced interdisciplinary scholar and trained cognitive scientist with a PhD in cognitive psychology which she completed in the social neuroscience department of the Max Planck Institute for Human and Cognitive Brain Sciences.
We will be examining four main themes which we will spread across the core weeks of May and June. The first date, Friday 22 May will be the intro to the course where all the important course information and materials will be shared. The final day, Thursday June 25th, you will be sharing your final projects.
By using simple game structures to choose text, write words, copy fragments, quote, combine, recombine existing text, misunderstand spoken words, speak, stutter, whisper, translate, repeat, record, process, programme, listen, remember, we will create sonic miniatures and collaborative narratives and compositions. Participants will explore the possibilities that the Medienhaus recording booth offers by making own vocal recordings and compose with each other's recordings. As part of the course we will create material for S4NTP's Future Voices / Zukunftsmusik.
The course is divided in four online group sessions and three individually scheduled recording sessions at the Medienhaus recording studio. During the first session on 5.11. the individual recording schedule for the rest of the semester will be set up and dates will be confirmed.
Boredom could be considered the zeitgeist of our Corona-times. The stillness, silences, and empty spaces are all too common these days. More often we try to fill them with attention grabbing stimuli, but what if we did not – what if we instead examined the boredom we feel? This seminar will do exactly that, explore the contents of boredom through how it can offer a space for creative and contemplative thought, as well as existential reflection. This seminar is text-based where we will examine one theme each week with the final week dedicated to a final project presentation. Discussions and activities will be inspired by the dedicated theme of the week, which include: creative sides of boredom as explored through the psychological and artistic perspectives, contemplative thought examined through the practice of meditation and its effects on the brain, and existential reflection inspired by phenomenological texts, in particular Heidegger’s perspective on boredom and its relationship to technology.
In how far is meaning related to context? Our point of departure will be the pioneering works of conceptual artists and composers of experimental and electronic music in Europe and in the US, such as Maryanne Amacher, John Cage, Christina Kubisch, Alvin Lucier and Dick Raaijmakers. Students will explore different methods of creating scores for their own work. There will be some reading required. The course will be held in English.
For a version of David Tudor's Rainforest - a collaborative environmental work - students will collect sounds over the course of the semester. Assignments will include creating collections of audio recordings and finding resonating objects that can serve as loudspeakers for the final installation. The course includes excursions to a foley studio for film (Geräuschemacher) and to the Berlin Phonogramm Archive.
In the next iteration of Neural Bending we're gonna focus on the concept of Artificial Embryogeny. The modern concept of AI uses metaphor of neuron as a main computation unit while in Artificialembryogeny the metaphor of genome is chosen as a core element of the concept. Using such biological poetic in computation practice we'll try to cross-breed neuron with genome (even if it sounds ridiculous from biological point of view)
Based on Steno, a "little language for spinning long strings of synths", we explore approaches and technologies to create and manipulate artificial soundscapes and room tones. Participants will create performance systems of highly interconnected sound synthesis networks, possibly integrating sensing elements from the course "Sensor and Sensibility" by H. Hoelzl.
Dates: 31.10., 1.11.: 10-17h
21., 22., 28., 29.11: 13-17h
Seminar overview: How are creative ideas inspired? Given the rise in using machine learning in artistic practices and design, what is the role of authorship when considering the generation of a creative idea? Accordingly, this seminar will be a focused investigation into the generation of creative thought. It will be a text-based seminar where we will examine one theme each week and have one core text accompanying each theme. Discussions and activities will be inspired by the theme of the week, which include: hyper-realities, dreams, episodic memory, simulation hypothesis, and philosophical/aesthetic questions around using machine learning/Artificial Intelligence in creative practices.
Assignment: During the seminar you will be asked to keep a journal to map how your creative thoughts and (day)dreams are dynamically changing based on the themes we explore. For the final project, you will be asked to create a dream scape from your collected journal experiences by taking the perspective of a machine learning algorithm (to embody the algorithm).
Since Generative Adversarial Networks became a mainstream idea in various fields of research in Deep Learning as well as in art, so for this semester we're planning to focus on exploration of such highly contagious technique of data synthesis. Besides the GANdrotuction into basics, we're gonna explore the limits of what can be done with GAN beyond using traditional GAN techniques in visual and audio domain. Warning: Yes, we're still gonna use Python, so it's good to have your fingers be prepared for coding.
VR is the future. What does this mean for music performance? What kind of stages and spaces can we conquer, which instruments do we imagine? Which body language do we speak in the virtual?
We will create virtual performance environments which are spaces or instruments or hybrids of both. They can be playful, crazy or dead serious. You will either work towards implementing an environment using Unity 3d or make a visual concept of it.
How will the future VR club be like? What does VR offer to a club experience? How do we interact, share, feel, organize in virtual spaces? Which aesthetics do we apply?
In a four day block course we will look at the challenges of rethinking a shared experience (clubbing) for VR and create a small Unity project each that deals with the physical space, virtual musical instrument, virtual installation or concept for interacting or sharing knowledge in virtual space(s).
we explore different approaches and technologies to site specific work by Christina Kubisch, Max Neuhaus, Janet Cardiff, Justin Bennett and others. Participants will create sonic miniatures and collectively compose a sound walk.
During the first meeting on friday 12 april 14:00–16:00 the exact course dates will be fixed. The course will take place in 6 sessions of 4 hours each, on Thursday and/or Friday afternoons. An additional session on live radio is planned with Udo Noll, creator of the platforms Radio Aporee and Miniatures for Mobiles.
In recent years we can observe that with the help of AI and Machine Learning we can generate realistic looking images that confuse humans. DeepFakes, GAN based algorithms, Transformers type of AI architectures give us realistic images of a non-existent reality. In many tasks, humans lose while playing against AI. Lee Se-dol while losing against the machine had no options to do a similar gesture as the procrastinating character played by Kurt Russel did in the opening scene of John Carpenter's "The Thing".
For this semester, our aim is to use Machine Learning to develop a Neural Network algorithm that can generate an output which appears realistic for AI. We're gonna explore the plausible aesthetics of abstract patterns which creates a cognitive illusion for machine perception. Let's say we improve Machine Learning to Machine Confusion to make something which is perceived "deep fakeish" from the point of view of AI.
A practical analysis and application of contemporary and traditional methods of electronic music. The course is structured around seven seminars addressing theories, listening strategies, and practices in electronic music through weekly assignments, listening sessions and workshops. Supported by theoretical study of existing works of music and writings by established composers, participants will implement the practices of electronic music composition, create a portfolio with sound installations and perform together via open air class concerts with quadraphonic sound.
– part of a planned weekly series of "Students Teaching Students"–
We will discuss different elements and current topics around AI, students will bring and develop their individual project
and will be guided in the process. VR projects are encouraged but not a must.
Credits will be given, if a project is completed and documented with 5 images, a text and a short video before the end of the semester.
In dem Entwurf sollen die Prinzipien von Resonanzkörpern für architektonische Anwendungen analysiert und Konstruktionen mit digitalen Fertigungsverfahren weiterentwickelt werden.
Im Rahmen eines studentischen Workshops sollen 1:1 Prototypen gebaut werden, die als Knotenpunkte in diesem Netzwerk agieren. Der Workshop ist eine Kooperation zwischen dem Lehrstuhl für Digitales und Experimentelles Entwerfen (Prof. Palz/Pfeiffer), Generative Kunst (Prof. de Campo) und der Designtransfer Galerie der UdK Berlin.
Zu Anfangs des Semesters werden wir anhand von kleinen, praktischen Aufgaben in die digitale Modellierungsumgebung Rhino/Grasshopper und den Umgang mit CNC Werkzeugmaschinen (Lasercutter, etc) einführen. Vorkenntnisse sind nicht notwendig. Interessierte Studenten der Klasse Generative Kunst sind herzlich zu dem Workshop eingeladen.
Der interdisziplinäre Workshop „Transformative Matter - Mapping Architecture`s Spaces“ geht an drei Tagen Intensivworkshop der Frage nach, wie architektonische Entwürfe auf neue, sinnliche Art in räumliches Erleben übersetzt werden können. Wie tragen Materialität, Sound, Licht zu einer Raumerfahrung bei, die über den herkömmlichen illustrativen Charakter von Ansicht, Schnitt, Grundriss hinaus eine sinnliche Raumerfahrung simuliert. In Zusammenarbeit von Architektur, Design, Film, Sound sollen während des Workshops zweidimensionale Entwürfe im Raum erfahrbar gemacht werden. Die Ergebnisse der Zusammenarbeit werden als räumlich-erlebbare Exponate am 11. und 12.7 im Rahmen des Salons des Fachgebietes Digitales und Experimentelles Entwerfen ausgestellt werden.
How can a machine hear and interpret music? What patterns does it perceive in the sonic flow and how different they are from human perception? We are going to use machine learning methods for sampledelic reconstruction of pop songs. This time, our aim is to recreate new hot stuff for the empty dancefloor of the party that no one will attend. Let the machine entertain us! (Warning: to speak with the machine we're gonna code in Python!)
The dates are 23.4, 24.4, 30.4, 7.5, 8.5, 14.5, 15.5, 21.5 22.5, 28.5 (10:00-12:00)
The vampire squid inspired the cultural theorist and philosopher Vilém Flusser (1920-1991), who dedicated his book “Vampyroteuthis infernalis” (1987) to his (bio-)artist friend Louis Bec (1936-2018). This philosophical fiction brings us into the everyday life of this animal – as the ultimate “other” from a human perspective – and analyses different phenomenological events of human life and the links between animality and embodiment.
During the seminar, we will learn about biological taxonomies and take a closer look at the artificial taxonomical system of the “Institut Scientifique de Recherche Paranaturaliste“, founded by Louis Bec and devoted to “studying the incapability of living things to understand their own existence“.