/
/
/
/
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./
Plenary sessions aim to be a temporary habitat open for the confluence of Xentities—ideas, methods, debates, approaches, and possibilities that are yet to come. Participants share their stories in these sessions and evolve their ideas, sketches, and accounts of their current artistic endeavours. Each session is a shared experiment in rethinking and reimagining the meridian that converges our thoughts through techniques of the body, referred to as "Xentities."
In meetings designed to realise individual and group projects, we test generative, interactive and network systems that challenge the boundaries of instrument design, strive to foster transdisciplinary and performative work and unlock transindividual potential.
/
/
Themenschwerpunkt dieses Semester:/
The semester topic is "Hyper/dis/connectivism", and will be addressed from different perspectives in the courses in our context./
Im Plenum der GenComp Fachklasse werden aktuelle künstlerische Arbeiten der Studierenden sowie Gruppenprojekte gemeinsam diskutiert./
In "Embodies the Coder's Space," four key dimensions are investigated: Code Space explores the symbiosis between code and coder. It delves into imagining and creating the tactile coding environment that emphasises fluidity across various worlds. Generative Space engages with the philosophical and psychological aspects that tie coding actions to sensorial and spiritual experimentations. Performing Space critically investigates coding as an artistic practice, heightening diversities and modulating the borders between code, culture, body technology and artificial lives. Lastly, Collab Space probes into the micro-political practice inherent in coding, exploring how it is both a personal focus and a societal act of care, connecting psychical and social individuation.
The colloquium will feature workshops and seminars and motivate individual art projects that foster transdisciplinary collaboration for inventive generative outcomes.
Part I: 10-12h Embodies the Coder's Space
Part II: 12-14h Space for Tinkerability
/
The City of Augsburg boasts a unique system of water supply channels, hydraulic plants and water towers from the 15th century./
In "Embodies the Coder's Space," four key dimensions are investigated: Code Space explores the symbiosis between code and coder. It delves into imagining and creating the tactile coding environment that emphasises fluidity across various worlds. Generative Space engages with the philosophical and psychological aspects that tie coding actions to sensorial and spiritual experimentations. Performing Space critically investigates coding as an artistic practice, heightening diversities and modulating the borders between code, culture, body technology and artificial lives. Lastly, Collab Space probes into the micro-political practice inherent in coding, exploring how it is both a personal focus and a societal act of care, connecting psychical and social individuation./
Artificial In/Decision Making and Coded Collectivity/
Semester Topic: Basics and Projects/
Im Plenum bringen alle Teilnehmer:innen Ideen, Skizzen, aktuelle Arbeiten in Zwischenstadien und interessante Arbeiten aus verwandten Gebieten ein und diskutieren soe./
Semesterthema: Absolute Advanced Basics/
Semester Topic: Embodied Intelligences/
We will explore embodied intelligences in multiple forms:/
/
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./
Artificial Individualism & Coded Corporeality/
Who is afraid of sound, music and code?/
Semester Topic: Ars Combinatoria, Exploration, Transformation/
/
Proponents of the current algorithmic revolution promise large benefits from "smartifying everything", from household things like fridges to cities./
We will study the phenomenon and practice of appropriation on all levels available to us:/
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./
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./
--¡¡ changed from VDL listing due to current online-teaching condition !!--/
We will work on a realization of Alvin Lucier’s seminal piece "Music for Solo Performer" for amplified brain waves and percussion instruments./
Thema: Artificial, Natural & Hybrid Intelligences & Stupidities/
On performance art and experimental music/
The Society for Nontrivial Pursuits has won the open call for next year's Kontinuum generative sound stream: ctm kontinuum/
In model worlds, the options for causality are:/
Sferics are natural VLF (very low frequency) radio waves caused by lightning strikes in the Earth's athmosphere. Alvin Lucier describes them as "signals - resonant clicks and pops, called tweeks and honks by scientists - [which] occur in the audible range of humans and may be picked up by antennas and amplified for listening. They are best received at night, far from power lines. Occasionally, certain sferics get caught on and travel long distances along the magnetic flux lines around the earth, producing whistlers, downward-gliding signals which may last up to two or three seconds."
We will build long loop antennas and take them on day and night time excursions to different locations around Berlin to listen to these signals and other electromagnetic waves.
The semester assignment includes creating an antenna and the work on maps indicating sounds that were discovered along the way. The maps may serve as sound archives or as scores for listening walks, performance or story telling.
The final presentation will take place during the weekend of S4NTP performances on Sunday June 23 (to be confirmed).
schedule: ON FRIDAYS
first session: May 24 at 12h in GRU 111
COURSE DATES
MAY 24 + 31 + JUNE 7 + 14 + 21
- depending on weather forecast -
2-3 day time sessions 12-16:00
2-3 night time excursions 22:00-2am
+ final presentation on Sunday June 23 (to be confirmed)
please register via email
/
SONIC IMMERSION/
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:/
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.
/
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!/
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 Einzelbesprechungen diskutieren wir Konzeption, schrittweise Ausformulierung und Realisierung von generativen, interaktiven Systemen, Instrumenten, Installationen, Performances, und erproben mögliche Lösungswege./
We will explore intelligences of bodies in multiple forms:
Invite artists working with robots as guests & collaborators
As a case study, we will develop a network of small, interacting nodes that use long strings installed in the corridors of the Medienhaus to communicate acoustically. Each node connects to >2 wires by listening and transmitting.
We will invent behaviors for the nodes: How do they interpret what they “hear”? How do they transform this “information” and what do they tell their neighbours about it? How do the wires themselves modify, filter, influence the transmission of these acoustic streams?
In Hybrid Systems, we focus on the HW side of the project: physical installation and tuning of the wire channels, and the points of transduction between the mechanical and the electrical/digital domain.
/
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:/
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:/
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./
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 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?/
Artificial intelligences raise both great expectations and fears - what are they good at, where do they fail, what are the potential benefits and risks?/
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./
"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)/
“器Qì“derived from Daoist philosophy. In today's social context, 'Qì' becomes a community of human bodies and machines. It symbolizes both a technological entity and an inherent component of the human form. In the age of the Anthropocene, where technology has ascended as a planetary force influencing every aspect of our lives, intriguing questions arise. How does our body respond when subjected to rapid and profound technological changes? Does the vessel of flesh gradually approach its limits, teetering on the brink of collapse, or does it find itself immersed in euphoria?
In this Block Seminar we will be collaborating with parts of the Butoh Workshop, try how to hack distances, surfaces, bodies, and binaries as X-Self, analyzing, visualizing, and deconstructing power structures, while ensuring that happiness hormones are released even in virtual connections. We will feature game engines and motion capture as primary creative frameworks to shape a new perspective of the cosmos and translate the human bodies into the environment. Through practical work with advanced VFX, lighting, motion tracking and audiovisual interaction, you will gradually integrate the personal aesthetic experience. Discover how to present new progressive communities in the digital realm and combine utopian research on pleasurable interfaces with the playful exploration of digital tools. The final project will be shared through various distribution formats. On the last day of the seminar, you will present your Final Projects/Processes.
10:00-17:00 3rd Nov.2023 (Friday)
10:00-17:00 14th Nov.2023 (with Butoh workshop)
10:00-17:00 17th Nov.2023 (Friday)
10:00-17:00 08th Dec.2023 (Friday)
/
In drawing inspiration from works by composers of experimental music such as Alvin Lucier's Music on a Long Thin Wire, Maryanne Amacher's City-Links, David Tudor's Rainforest, and Christina Kubisch's electrical walks we explore the resonances of objects, rooms, wires and the building to create a slowly growing sonic playground of resonating bodies. What does it take to turn a playgound into an instrument? Are sonic memories relevant in this context? Course materials will include text and video. Course activities will include wiring up objects with transducers, creating sounds to play them and listening to the U7 as it makes the building shake and resonate./
Human beings are biased toward solving problems by doing more, adding material, elements, effort, making structures more complex./
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./
/
器Qì“derived from Daoist philosophy. In today's social context, 'Qì' becomes a community of human bodies and machines. It symbolizes both a technological entity and an inherent component of the human form. In the age of the Anthropocene, where technology has ascended as a planetary force influencing every aspect of our lives, intriguing questions arise. How does our body respond when subjected to rapid and profound technological changes? Does the vessel of flesh gradually approach its limits, teetering on the brink of collapse, or does it find itself immersed in euphoria?/
To explore power games from many angles, we will:/
/
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./
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./
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./
In many biological researches we can find that inteligence not necessarily connected with organisms with highly complex neural system. The patterns of intelligent behavior can appear in colony of unicellular organisms, in fungal mycelium and many others organisms without neurons. Such behavior raises up from interactions within ecosystem and form collective inteligence. So inteligence is not necessary a property of highly developed individual agent but rather a feature of multi agent collective./
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./
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./
In many biological researches we can find that inteligence not necessarily connected with organisms with highly complex neural system. The patterns of intelligent behavior can appear in colony of unicellular organisms, in fungal mycelium and many others organisms without neurons. Such behavior raises up from interactions within ecosystem and form collective inteligence. So inteligence is not necessary a property of highly developed individual agent but rather a feature of multi agent collective./
Artificial intelligence is currently discussed broadly amongst the tech and art communities. What is the state of the development?/
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./
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?/
/
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./
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./
The concept that we learn by interacting with environment is a foundational idea underlying the theories of learning and intelligence. In machine learning beside the methods of supervised or unsupervised learning we can find the approach of reinforcement learning which is based on the agent-environment dichotomy./
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)/
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./
The Intensive Butoh Improvisation Workshop With Yuko Kaseki is a 3-day intensive physical work experience and a generative dialogue with and based on Yuko Kaseki's approach to butoh methods. It takes improvisation performative perspectives, tailored for the Time-Based Art with Contemporary Technology Class, experimenting with the notion of performing the Transindividual Self through the performative bodies, including our physical bodies and its Umwelt, as well as the information systems, machines, and codes./
By using 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./
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./
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./
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./
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./
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./
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"./
/
A practical analysis and application of contemporary and traditional methods of electronic music. The second part of the course is structured around eight seminars addressing theories, listening strategies, and practices in electronic music through weekly assignments, listening sessions and workshops./
Nowadays, apparently text-based image generators occupy the majority of approaches in generative deep learning models. The embedding of textual concepts in the space of controllable parameters of a generator gives us the impression that machines are starting to understand human visual needs. It seems that humans just need to know how to explain things to machines by engineering text prompts./
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?/
In the creative Coding Dojo we collectively choose a theme or challenge together and write code to reach that goal. The format is inspired by the https://codingdojo.org, but our goals are often directed at audiovisual outputs. Starting on 30.10.2023./
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?/
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./
/
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?/
The definitions we take for granted in the cognitive process are not so solid. The tools we know to create are not so perfect. Even the world can feel more alien to us than ever before. One after another, we choose to throw away reality, gender, faith, pick them up again and keep moving forward. We bring personal experiences into practical creation. In this Block Seminar we will feature the game engine as main creative frameworks to build a new view of the cosmos, and to render the potential future into the present vision. “ Is a white horse not a horse? ” “When all that is solid melts into air, where is the end of subtraction?” We will take these questions into the process of departing from the reality./
/
/
We will discuss different elements and current topics around AI, students will bring and develop their individual project/
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./
The use of AI and Machine Learning heavily relies on the appropriation of other artists' intellectual properties. Access to such tools often requires brand new hardware and energy-intensive technology, leading to inequality and data gentrification./
The Intensive Butoh Improvisation Workshop With Yuko Kasekiis a 3-day intensive physical work experience and a generative dialogue with and based on Yuko Kaseki's approach to butoh methods. It takes improvisation performative perspectives, tailored for the Time-Based Art with Contemporary Technology Class, experimenting with the notion of performing the Transindividual Self through the performative bodies, including our physical bodies and its Umwelt, as well as the information systems, machines, and codes.
The workshop strives to provide the students with tools and handcrafts, imagination and pragmatism, spontaneity and planning, structure and chaotic freedom.
_______________________________________
WORKSHOP DETAILS:
One ongoing focus point in this three-day workshop is Following Yuko Kaseki's continuous research with various physical training methods such as Noguchi gymnastics, elements of Tai-Chi Dao-yin, Butoh methodology, and dance improvisation. The workshop starts with finding the core of our body (Tanden) and deep listening to the meridians connected variants of the Inner- and in relation to the Outer. Direct physical attention to other bodies, objects, spaces and data will stimulate and enhance physical imagination, attention and retention and help accumulate a vocabulary of performing the trans individual self with contemporary technology.
13 nov 2023 Vocal laborynthorium - Anne Wellmer
14 Nov.2023 Utopian Pleasurable Interfaces - MengXuan Sun
15 Nov.2023 Code Embodied - Bruno Gola, Echo Ho
yuko kaseki https://www.cokaseki.com/
/
Winter Semester 2017 Students/
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!)/
Are you new to coding and to the medium of sound in general? Tired of staring at a blank Super Collider page and not knowing how to start? Then this course is for you! We will be covering the basics of Super Collider from the very beginning and working up from that. That is to say, it is a workshop for beginners but also and above all a space to ask questions freely./
In dem Entwurf sollen die Prinzipien von Resonanzkörpern für architektonische Anwendungen analysiert und Konstruktionen mit digitalen Fertigungsverfahren weiterentwickelt werden./
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./
OS X / Linux terminal. vim text editor. LaTex typography. Imagemagick image file manipulation and conversion. ffmpeg audio-video processing. vlc & gstreamer multimedia streaming./
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.