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.
/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.
/Im Plenum der GenComp Fachklasse werden aktuelle künstlerische Arbeiten der Studierenden sowie Gruppenprojekte gemeinsam diskutiert.
/Themenschwerpunkt dieses Semester:
/Semesterthema: Absolute Advanced Basics
/Semester Topic: Embodied Intelligences
/Im Plenum bringen alle Teilnehmer:innen Ideen, Skizzen, aktuelle Arbeiten in Zwischenstadien und interessante Arbeiten aus verwandten Gebieten ein und diskutieren soe.
/The City of Augsburg boasts a unique system of water supply channels, hydraulic plants and water towers from the 15th century.
/The semester topic is "Hyper/dis/connectivism", and will be addressed from different perspectives in the courses in our context.
/Artificial In/Decision Making and Coded Collectivity
/Proponents of the current algorithmic revolution promise large benefits from "smartifying everything", from household things like fridges to cities.
/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.
/We will study the phenomenon and practice of appropriation on all levels available to us:
/We will explore embodied intelligences in multiple forms:
/Artificial Individualism & Coded Corporeality
/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.
/Semester Topic: Ars Combinatoria, Exploration, Transformation
/In model worlds, the options for causality are:
/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.
/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!
/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:
/Thema: Artificial, Natural & Hybrid Intelligences & Stupidities
/--¡¡ changed from VDL listing due to current online-teaching condition !!--
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.
/The Society for Nontrivial Pursuits has won the open call for next year's Kontinuum generative sound stream: ctm kontinuum
/“Nil humani alienum puto” - nothing human is alien to me
/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.
/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:
/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.
/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.
/"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)
/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.
/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.
/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.
/Artificial intelligence is currently discussed broadly amongst the tech and art communities. What is the state of the development?
/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 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.
/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.
/What forms of dialogue arise between a communicating ensemble of electronic bodies and a group of humans over a long time?
/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.
/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 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.
/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)
/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.
/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.
/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.
/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.
/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.
/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?
/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 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".
/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.
/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.
/We will discuss different elements and current topics around AI, students will bring and develop their individual project
/In dem Entwurf sollen die Prinzipien von Resonanzkörpern für architektonische Anwendungen analysiert und Konstruktionen mit digitalen Fertigungsverfahren weiterentwickelt werden.
/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!)
/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.