Available courses

One hour individual session, i.e.: nurturing, caring and tailored feedback available for anyone who is currently preparing an intermediate diploma or a diploma. This is a call to all students with a filmic practice or interested in filmmaking.
Zwischen Kunst und Kommerz ist der Berufseinstieg für Künstler*innen ein Drahtseilakt.
Freiberuflichkeit oder eine feste Stelle? Wir unterstützen Sie auf Ihrem individuellen Weg, beraten Sie bei der Zielfindung und helfen bei der Stellensuche.
Geld für meine Ziele? Informationen über finanzielle Hilfen der Agentur für Arbeit oder des Jobcenters.
This 10-day excursion to the art festival in Luanda, Angola, celebrates the 15th anniversary of the Goethe-Institut Angola. This event encourages a creative collaboration between German and Angolan artists, focusing on creating site-specific artworks in the urban ruins of Luanda. There will be Preparatory Meetings with both Goethe Institute and lecturers to plan towards the exhibition and excursion.

Theme of the Exhibition:
The festival's theme, O FUTURO JÁ ERA / EINSTÜRZENDE NEUBAUTEN (AT), invites artists to explore and interpret the juxtaposition of past futures and architectural decay, fostering a dialogue between different cultures and artistic disciplines.Students have the opportunity to participate in collaborative work and co-exhibit. The exhibition is unpaid.

Deadline: 25.04.2024

How to Apply:
Interested students must submit a concept proposal that aligns with the festival's theme and includes a portfolio of their work. Anyone is welcome to apply; however, participants of Dukhee's and Helin's seminars and workshops will be given priority. There will be a capacity of max 5 Students.

Budget Information:
If funding is approved, 50% of travel expenses will be covered. The Goethe-Institut will assist with accommodation and one meal, material costs.

Vaccinations:
We ask students to independently inform themselves about which vaccinations, such as Yellow Fever or malaria prophylaxis, are needed or recommended.

Outcomes:
- Participants will collaborate on an installation project, guided by lecturers and in partnership with local artists.
- The project will culminate in a public exhibition as part of the festival, showcasing the collaborative efforts and individual talents of the participants.
- This excursion offers an unparalleled opportunity for hands-on international collaboration, artistic growth, and cultural exchange.

Scheine: This excursion offers a workshop schein, and in some cases, upon consultation and presentation of artwork, one may obtain Leistungscheine.
The summer excursion will take place at the Cannes Film Festival. Accreditations will grant us access to the entire festival including the Main Competition, Un Certain Regard, the Acid and the Directors’ Fortnight.

We will focus on the last one as Julien Rejl’s program last year brought us wonderful first feature films such as Thien An Pham’s Inside the Yellow Cocoon Shell and Ilya Povolotsky’s Grace which we have studied during the Reflexive Camera Seminar.

Cannes’ programme offers a myriad of events and depending on what is scheduled we will also be able to attend masterclasses, the market side of the festival, and numerous gatherings for which it is strongly recommended to adopt Cannes’ dress code i.e.: wear black shades and shiny shoes in order to accidentally manage to bump into the producer, director or actor/tress of your dreams.



Excursion to Vienna:

Visit the exhibition “Into the Woods” in KunstHausWien and meet with curator Sophie Hasslinger, (https://www.kunsthauswien.com/en/exhibitions/into-the-woods/)
Visit the “Klima-Biennale” (https://biennale.wien/en/partners)

Foto Arsenal Wien: two exhibitions to mark World Water Day 2024:
Beate Gütschow’s ‘Resistance. Flood. Fire.’ and Laure Winant’s ‘From a Tongue We Are Losing’.
Belvedere 21: Angelika Loderer’s ‘Soil Fictions’ and Oliver Ressler’s ‘Dog Days Bite Back’

The Weltmuseum Wien and the Künstlerhaus Vereinigung: ‘Unknown Artists of the Amazon’
‘Kubus III’: Michael Goldgruber and Markus Guschelbauer
MAK: immersive spatial installation by the artists’ collective Troika (Eva Rucki, Conny Freyer and Sebastian Noel)
Die Manifesta ist die europäische Nomadenbiennale. Sie wechselt alle zwei Jahre ihre Position innerhalb Europas. Ausgehend von ihrem proklamierten Anliegen und ihrer Förderstruktur kann sie als eine Art soziales Projekt verstanden werden, das sich mittels Kunst mit städtischen Strukturen beschäftigt, mit diesen interagiert, Veränderungen ermöglicht oder zumindest anregt. Ein besonderes Augenmerk wird auf dem Zusammenspiel zwischen den öffentlichen Räumen der Stadt und der künstlerisch, zum Teil (raum)forschenden Ansätzen der Ausstellenden gelegt.
Das proklamierte Ziel der Manifesta 15 ist es, dringende öffentliche Debatten zu erörtern, die sich um folgende Themen drehen: Demokratisierung des öffentlichen Lebens und die Verteidigung des öffentlichen Raums angesichts der Privatisierung; die Notwendigkeit, sozialen Fortschritt mit ökologischen Herausforderungen zu verbinden, heißt auch die Fragilität und Prekarität in Bezug auf Wohnraum, zum Personenverkehr zu bedenken, die Kapital, Daten und wirtschaftliche sowie ökologische Krisen schaffen.

Im Rahmen der Exkursion werden wir unerwartete Ausstellungsorte besuchen, viel davon auch in der Metropolenregion Barcelonas, und in Dialog mit den Veranstalter*innen und Personen der lokalen Kunstszene treten.
Als Kolloquium und Schreibwerkstatt angelegt, dient dieses für alle Fachgruppen offene Format der gemeinsamen Diskussion laufender Projekte und Abschlussarbeiten: Im Zentrum stehen Fragen zu Themenfindung und Recherche, zu theoretischem Zuschnitt und methodischer Herangehensweise sowie zu Zeitplanung, Schreiben und Realisierung.
Gastvortragende werden zudem aus laufenden Projekten berichten. In diesem Rahmen ist u.a. eine Exkursion in die Sammlung Prinzhorn am Universitätsklinikum Heidelberg geplant, die im Kontext einer thematischen Einheit des Kolloquiums zum Thema „Kunst und Wahnsinn“ stattfindet.

Das Kolloquium wird bei Bedarf zweisprachig (Deutsch/Englisch) durchgeführt.
A Colloquium on Experimental Ecologies, Posthuman Narratives and Beyond

The Living Futures–Colloquium is a series format aimed at fostering interdisciplinary collaboration in the HfG and exploration in the realms of bio art and design, new materialism, posthumanism, more-than-human narratives, sustainability, and life cycles. This series brings together experts and practitioners from diverse fields such as art history, product design, communication design, media art, and photography to delve into the intersections of their disciplines with cutting-edge concepts in contemporary art and design.
The colloquium offers knowledge sharing on a variety of topics loosely interconnected throughout the disciplinary fields of philosophy, media, art, and cultural theory. It encourages addressing these topics in the context of traumatic social, political and environmental transformations taking place in today’s world. The talks on different issues and questions, chosen by students themselves, will be held on two levels: firstly, in the form of a more or less spontaneous personal exchange, and, secondly, in small ad hoc learning teams gathered around a particular topic or problem.
Everybody is welcomed to seek advice in these topics as well as support or assistance in practical matters, such as writing academic and nonacademic texts.
These FFFF meetings are dedicated to all film students (orientation year, pre-diploma and diploma) and will happen 3 times over the 4 months of the summer semester.
These gatherings are made so to exchange about the school, the program, hear about your wellbeing and wishes and also to introduce your projects to others. The goal is to create a synergy, a film collective where everyone has an individual project but they are made collectively - everyone has interchangeable roles during pre-production, production and post production - so to renew the procedures and practices of cinema, and innovate in every field of filmmaking including economically.
Radio-Choreography is an artistic research project initiated in 2019 by Netta Weiser, in collaboration with choreographers, theorists, sound and radio artists. The project explores the transformation of dance into sound, the relations between live broadcasting and muted histories, as well as acts of listening as modes of being together. In this colloquium, students will be invited to listen and respond to existing archival works, join activities around these two events the Radio (non-)Conference#2_ Athens (excursion and local listening events) and the Radio-Choreography: Acts of Transmission Exhibition at the Badischer Kunstverein.

Students wishing to participate with their own works are encouraged to join the Living Media - Tactical Ultrasound Praxis Seminar with guest professor David Muñoz Alcántara.

>>>>><<<<<

Local listening & planned excursion:
Radio (non-)Conference#2_ Athens
01.06.2024, Onassis Stegi,

Radio (non-)Conference is an experimental format at the intersection of durational performance, live radio show, performative symposium and public forum. It invites artists, thinkers and activists to share sonic and body-based practices revolving around histories of migration, hybrid identities, and movements of resistance. The first Radio (non-)Conference took place in 2022 in the frame of KONTAKTE Festival for Electroacoustic Music and Sound Art at the Akademie der Künste in Berlin. Radio (non-)Conference#2 will take place at Onassis Stegi in Athens in collaboration with STEGI Radio (online radio station Athens), reboot.fm (Free Artists Radio in Berlin) and The Unlikely Margin (The Academy of Fine Arts Vienna).

Selected guests include: Saidiya Hartman, Fotini Stamatelopoulou, Anna Bromely, Arkadi Zaides, The Syrian & Greek Youth Forum, AfrobeatsAthens among others.

>>>>><<<<<

Radio-Choreography: Acts of Transmission
20.06.2024 - 01.09.2024
Exhibition at the Badischer Kunstverein, Karlsruhe the Radio-Choreography: Acts of Transmission explores the ways that embodied knowledge is transmitted over generations, focusing on dance, healing practices and female jewish-muslim solidariteis. The centrepiece of the exhibition is a sound installation exploring the translation of choreographic practice into multichannel electronics. It brings together sounds of Jewish-Moroccan dance, blessings for fertility in Judeo-Arabic, and a choreographic poem to an ancestor from Giza. The work is developed in collaboration with performance artist Nora Amin (Cairo/ Berlin), researcher Vanessa Paloma Elbaz (Cambridge University, UK) and choreographer Shira Eviatar (Tel-Aviv). During the timeframe of the exhibition the installation is activated with a series of performative interventions, workshops, listening acts in public space and radio broadcasts in cooperation with Querfunk Freies Radio Karlsruhe and reboot.fm Berlin.
Das Forschungskolloquium dient der Vorbereitung und methodischen Begleitung von Studien- und Abschlussarbeiten. Es diskutiert Grundlagen des Forschens und unterstützt die Ausarbeitung individueller Projekte. Zu diesem Zweck verbindet dieses Kolloquium die Lektüre von Texten zu Methodiken des Forschens und einzelne Gastvorträge mit einem offenen Forum zur Präsentation studentischer Vorhaben und in Arbeit befindlicher Projekte.
Im Rahmen dieses Formats wird Beratung und Hilfestellung bei der Themensuche und Methodenwahl angeboten. Sowohl Studierende im Grund- und Hauptstudium sowie Doktorierende sind zur Teilnahme eingeladen.
Im SoSe 2024 lädt das Kolloquium zudem zur Beteiligung an einem am 20. Juni im Rahmen des Kurses 'Digital Matters' durchgeführten interdisziplinären Forschungssymposium 'im Feld' ein (Tagesexkursion).
Ist das audio-visuelle Konzert zum Semesterende der Hochschule für Gestaltung Karlsruhe. Studierende führen ihre Kompositionen und Arbeiten auf. Das Spektrum ist offen und reicht von elektroakustischen Kompositionen über audiovisuelle Kompositionen, Laptopmusik bis zu Live-Bands und neuer komponierter Musik. rOundabOut ist Plattform zur Artikulation der Ideen. Die Bühne ist Freiraum und Realisationsraum der künstlerischen und musikalischen Vorgaben und Ziele der Studenten.

Nach Absprache mit den Dozenten können Teilnehmer bewertbare Seminararbeiten bzw. Seminarvorträge übernehmen.

Konzert zum Semesterende.
Studentische Organisation und Beteiligung.
Bei Bedarf bilingual.
Designer müssen nicht nur ihre gestalterischen Fähigkeiten beherrschen, sondern auch in der Lage sein, ihre Arbeit wirkungsvoll zu präsentieren. Eine ansprechende Online-Präsenz mit einer gut gestalteten Website oder einem Portfolio ist daher unerlässlich. Darüber hinaus sind die sozialen Medien ein wertvolles Instrument, um Projekte einem breiten Publikum vorzustellen. Kommunikationsfähigkeit spielt hier eine entscheidende Rolle. Wie und für wen stellt man die eigene Arbeit dar? Wie kann man seine Stärken hervorheben? Welche Arbeiten kommen in das Portfolio? Wie formuliert man kurze und prägnante Texte? Und wie übersetzt man diese Inhalte in wirkungsstarke Bilder?

In diesem Seminar werden Themen zur Sichtbarmachung der eigenen Arbeit, wie die klare Vermittlung von Inhalten, der verständliche und zugängliche Ausdruck, die Kommunikation von Besonderheiten durch Texte, Fotografie und die optimale Präsentation von Projekten, diskutiert und praktisch erarbeitet.

Das Ziel des Seminars ist eine Auseinandersetzung mit den eigenen Interessensschwerpunkten, ein geschärftes Bewusstsein für die individuelle Selbstdarstellung und die Erstellung eines eigenen Portfolios, einer Website oder Ähnlichem
Changing the industry starts from working within the industry.

This semester, we begin a journey with Moroso, a leading company in the design industry, as we delve into pioneering sustainable practices to replace harmful substances and techniques. Moroso, a 75-year-old Italian family company renowned for its expertise in furniture, products, and interiors, actively seeks eco-friendly alternatives to conventional materials. Our focus will extend to overcoming challenges associated with materials like for example polyurethane and its design limitations, and crafting disassemblable, recyclable designs, and analyzing existing processes.

We immerse ourselves in the world of ‘relaxing', exploring typologies that prioritize comfort in furniture and objects. Our mission is to translate these innovative concepts into sustainable materials and production methods, fostering a new era of thoughtful and environmentally conscious design.

So, in addition to conducting in-depth material research in collaboration with Moroso and suppliers, we will translate the findings into physical designs based on observations of daily life and our
domestic landscape: how can we stimulate relaxation within private and public spaces, and what does this term mean in the era we live in?

The seminar will kick-off with a lecture and workshop by Patrizia Moroso, art director of Moroso and Lorenzo Taucer. The seminar also includes an excursion to Udine, Italy, for a visit to the
Moroso factory (to be confirmed), as well as lectures/workshops by established designers collaborating with Moroso. Following the semester, a small selection of projects will have the
opportunity for further development and a potential public presentation in collaboration with Moroso.

This seminar is particularly recommended for advanced students. Due to limited availability, full attendance, and motivation requirements, we kindly request you to submit a portfolio and a
motivation letter.

Objectives of the seminar:
• Research into sustainable materials, techniques and processes for the industry.
• Translation of the research into tangible designs.
• Lecture by art director Patrizia Moroso / workshop with designers collaborating with Moroso.
• Visits to various suppliers.
• Presentation with Moroso (to be discussed).
Welcome to Grand Hotel, dear passengers!
The travel agency Ghostly Matters offers you a seasonal ride through the vast, ominous landscape of the Black Forest right into the heart of a former Grand Hotel: Waldlust.
Its open doors are spreading the unique odor of holidays, classism, art and luxury.

Discover with us the untold narratives of its walls, furniture, kitchen, employees and guests, that merged the international and the local.
Which traces are inscribed in the hotel after the rooms are left?

Our Team will welcome you on the 5th of July in Freudenstadt for a remarkable visit to the exhibition setting at Waldlust.

The upcoming exhibition is the continuation of a critical and playful exploration on the legacy and contemporary status of grand hotels. Which ghosts are haunting us in the spaces of classicist and colonial luxury, the chambers of care work and hospitality and meeting places of artists and wealthy bourgeoisie? Which futures could emerge out of a pool combining various temporalities?

The exhibition is a collaboration between Waldlust e.V., HfG Karlsruhe, ABK Stuttgart and Hochschule Offenburg.
Widerstand ist als individueller oder kollektiver Ausdruck der Verweigerung, des Protests oder des Ungehorsams an Medien gebunden, die nicht nur seine politische Reichweite, sondern auch seine ästhetische Form bestimmen: vom Körper der Gesten ausführt, Parolen skandiert, politische Zeichen und Symbole ausstellt (Kleidung/Uniformen, Fahnen/Flaggen, Plakate/Banner), der die Form eines Massenkörpers annehmen oder aber durch den Verzicht der Nahrungsaufnahme (Hungerstreik) selbst zum politischen Instrument werden kann; über die Sphäre der Objekte, die als Zeichen, Symbole und Waffen eingesetzt oder (wie der Misthaufen bei den jüngsten Bauernprotesten) zu Barrikaden aufgetürmt werden, bis hin zu technischen und sozialen Medien und ‚algorithms of resistance‘.

Diesem heterogenen Phänomenbestand widmet sich das Seminar als mediales Repertoire des Widerstands anhand von Beispielen aus der Geschichte der Bürger-, Menschen-, und Frauenrechtsbewegungen, des LGBTQ+- und der Indigenous Movements. Im Dialog mit ausgewählten Beispielen der Performancekunst und philosophischen Lektüren werden verschiedene Dimensionen politischen Widerstands und seiner spezifischen Medien im Spannungsfeld von materieller und visueller Kultur untersucht. Thematische Wünsche und Vorschläge sind ausdrücklich willkommen und werden bei der Seminarplanung berücksichtigt.

Bei Bedarf wird das Seminar zweisprachig (Deutsch/Englisch) durchgeführt.
Entlang der Lektüre von "Silencing the Past" des haitianisch-amerikanischen Historikers Michel-Rolph Trouillot untersucht das Seminar Fragen nach der Entstehung und Durchsetzung historischer Narrative und ihrer gegenwärtigen Wirkmacht. ––– Wer oder was geht in das historische Narrativ ein (z.B. „Christopher Columbus hat 1492 Amerika entdeckt.“)? Und was wird umgekehrt nicht als historischer Fakt verzeichnet, gelangt nicht in die Archive (in welche?), schreibt sich nicht die Geschichte (wessen Geschichte?) ein? Weit mehr als nur die Historiografie, betreffen diese Fragen auch den Zustand und die koloniale Verfasstheit unserer gegenwärtigen Kultur.
Anhand von ausgewählten Beispielen aus der Kunst- und Kulturgeschichte werden wir Trouillots Buch mit flankierenden Lektüren (u.a. von E.P. Thompson, Stuart Hall, Roxanne Dubar-Ortiz, Sylvia Wynter, Saidiya Hartman, Philip J. Deloria Jr., Michel Foucault) diskutieren. In diesem Rahmen werden wir uns u.a. mit der HBO Mini-Serie „Exterminate all the Brutes“ von Raoul Peck beschäftigen, die Trouillots Überlegungen aufgreift.

Bei Bedarf wird das Seminar zweisprachig (Deutsch/Englisch) durchgeführt.
Everyday objects that surround us are determining our movements. They are making us do tiny performances as we use them. They are determining how we grip the teacup. How we open a can or a bottle of soda. How we use an electric stove with touch interface vs. a gas stove. How we sit down with the phones in our pocket. A lot of times the differentiation between objects lies in the micro choreography they are inducing. How does this unintentional micro choreography affect us? Can we design for movement and gestures?
During winter semester 2023 in the Cool School I seminar, a group of 11 super involved students researched and developed a wide variety of ways to cool the HfG building. Innovative and surprising solutions were explored and visualized, from ventilating table tops and human powered space coolers to cold air plunge baths.

The Cool School II seminar offers existing and new participants the opportunity to further develop their ideas into 1:1 working prototypes, that are ready to be tested during the summer of 2024. The initial design proposals will be developed into presentable and functioning prototypes that can be exhibited and tested in real life in the school building. The translation of initial idea into realistic object is the main focus. We will delve deeply into smart and efficient materialization, attention to detail and proportion, the context, and finally the technical and commercial feasibility of the pieces. Lastly we will look at how these pieces can be promoted and communicated, in the form of a publication and a hopefully a travelling exhibition.

Apart from the participants of the Cool School I project, the seminar is open to anyone interested to assist participants with the realization of their proposals or you could also join and develop something new entirely.
MacGuffin is a magazine and platform focussed on the life of everyday objects: ‘The Life of Things’. Editors Ernst van der Hoeven and Kirsten Algera initiated it in 2015 as a reaction to the mainstream design world, addressing its obsession with innovation and commercial success. Taking its name from the term coined by Alfred Hitchcock, MacGuffin presents the alternative narratives of commonplace objects that set stories in motion. Each issue of the magazine has one object as its theme, unraveling its meaning in a kaleidoscopic way.

In the MacGuffin seminar in Karlsruhe students will research the context of a chosen object and develop the findings into a 2- or 3D magazine. The multidisciplinary nature of the research, as well as the cross-media outcomes of the seminar make it interesting for both communication and product design students. They will delve into the context of the objects and the role that they play in our lives. What are the backgrounds or stories that these objects embody? What does the use of the object tell us about social, economic, political, or cultural relations? By using the model of this specific magazine as a methodology, the project aims to stimulate design students to regard the meaning of objects in a more profound way, encouraging wider interpretations.

For the project the students work in groups producing the content for a mini 2- or 3D magazine focussed on a single object, comparable to how MacGuffin themes their editions, like The Bed, The Window, The Bottle, The Rug, The Trousers or The Letter, for example. Together, the magazines will form an environment that is somewhere between a reading room and an exhibition space, presented on July 3.

Schedule:
Thursday April 25 (14:00) + Friday April 26 (9:00) 1st meeting with Kirsten Algera + Ernst van der Hoeven First day: introduction MacGuffin + division into groups of four students Second day: research in groups + presentation chosen object.
Tuesday May 7 (14:00) + Wednesday May 8 (9:00) 2nd meeting with Ernst van der Hoeven First day: presentation of three subthemes per group Second day: elaboration of three subthemes, start research.
Thursday May 23 (14:00) + Friday May 24 (9:00) 3rd meeting with Kirsten Algera First day: presentation research/ content sub-themes: what has been found? Second day: which three formats for three sub-themes?
Thursday June 6 (14:00) + Friday June 7 (9:00) 4th meeting with Ernst van der Hoeven First day: presentation of sub-themes in three formats Second day: discussion of final presentation format.
Thursday June 20 (14:00) + Friday June 21 (9:00) 5th meeting with Kirsten Algera First day: presenting proposals magazine 2D or 3D Second day: discussion in groups Wednesday July 3 (9:00) 6th meeting with Kirsten Algera + Ernst van der Hoeven Evaluation.
Theory and Structure of Visual Sound Language (Orientation Year OY)

Eine Einführung in konzeptuelle Klangerzeugung für die künstlerische Multimedianwendungen: Audio, Video, Synthese, Analyse und Sensorium
Max, also known as Max/MSP/Jitter, is a visual programming language for music and multimedia developed and maintained by San Francisco-based software company Cycling '74. Over its more than thirty-year history, it has been used by composers, performers, software designers, researchers, and artists to create recordings, performances, and installations.
https://en.wikipedia.org/wiki/Max_(software)


Das Seminar ist offen für alle Fachbereiche.
In dem Seminar wird die Bedeutung des Raumes als herausragende strukturierende und ästhetische Komponente für Kompositionen aus den jeweiligen Perspektiven von Musik, Klang, Bild und Bewergung thematisiert.
Ein Schwerpunkt ist dabei der experimentelle und integrative Umgang mit codebasierten Konzepten auf Max/MSP/Jitter und zeitbasierten Tools.

Die Themen bauen auf folgenden Schwerpunkten auf:
- Psychoakustische Grundlagen räumlicher Wahrnehmung
- Akustische 3D Aufnahmeverfahren
- Akustische Projektionstechniken wie Surround, Ambisonics, Wellenfrontsynthese
- Kombination visueller und akustischer Projektions- und Aufnahmeverfahren
- Konzepte medialer und musikalischer Komposition zeitlicher Abläufe für räumliche Eigenschaften abstrakter Objekte
- Formate für 3D-Aufnahmen und Projektionen für Konzerte, Installationen und Broadcast

Das Seminar legt einen experimentellen Schwerpunkt auf die künstlerische Umsetzung von mehrkanaligen Aufnahme- und Wiedergabeverfahren und deren Anwendung für musikalische und klangorientierte Arbeiten.

Nach Absprache mit den Dozenten können Teilnehmer bewertbare Seminararbeiten und/oder Seminarvorträge übernehmen.

Das Seminar ist offen für alle Fachbereiche!

Bei Bedarf bilingual.

Anmeldung bis 1.5. unter lschwarzAThfg-karlsruhe.de
Programmieren und Probieren mit C, Python, Java, SuperCollider, Max/Msp/Jitter.
Aufbauend auf der Vermittlung von Grundlagen der Programmierung werden eigene Projekte entwickelt: Live-Coding, Netzwerk-konzerte, physikalische und mathematische Grundlagen für Simulation und Anlyse in verschiedenen Sprachen.

In diesem Semester liegt unser Fokus auf die Möglichkeiten über Eingriffe in die Embeddings und den Latent Space klangliche und musikalische Möglichkeiten zu erforschen und Deep-Verfahren auszuprobieren und anzuwenden.

Digitale und analoge Klangerzeugung, Interaktion, visuelle Analyse und Synthese, generiert und programmiert unter verschiedenen Environments der Medieninformatik.
Es werden Objekte und Verfahren in Beispielen besprochen und in Übungen und Projekten klangliche, musikalische und visuelle, szenische Anwendungen entwickelt.

Es werden Semesterthemen gewählt.

Nach Absprache mit den Dozenten können Teilnehmer bewertbare Seminararbeiten bzw. Seminarvorträge übernehmen.

Das Seminar ist offen für alle Fachbereiche.
Die bildwissenschaftliche Analyse von Kunstwerken verschiedener Epochen erfordert unterschiedliche Methoden. Ein mittelalterliches Altarbild, die Renaissancedarstellung eines antiken Mythos, ein barockes Stillleben oder ein absolutistisches Herrscherportrait etwa verwenden eine Bildsprache aus Symbolen, Attributen, Typen und Kompositionsformen, die über Jahrhunderte hinweg Anwendung gefunden hat und der Vermittlung konkreter, erzählerischer Aussagen dient. Jedes kleine Detail wie eine erloschene Kerze, eine Blume, Tiere oder die Kleidung und Haltung einer Person können Aufschluss über die dargestellte Geschichte geben. Mittels der Ikonographie können solche Bildinhalte entschlüsselt werden.
Drüber hinaus lassen sich Kunstwerke in einen gesellschaftlichen, politischen oder funktionalen Kontext etc. pp. setzen. Was also kann ein Kunstwerk über sein Motiv hinaus über seine Zeit und seine Gesellschaft aussagen? Warum sind gerade zur Zeit der Kreuzzüge Mariendarstellungen besonders gefragt? Welches politische Kalkül liegt der Gestaltung des Krönungsornats Napoleons zu Grunde? Wie kommt es im Laufe der Jahrhunderte zur Entwicklung neuer Gattungen? Dient uns die Ikonografie zur Deutung der bildimmanenten Motive, hilft uns die Ikonologie dabei
größere Kontexte zu erfassen.
Auch die freie Kunst des 19. Jahrhunderts erfüllte kommunikative Funktionen und erzählt Geschichten, die es zu entschlüsseln gilt. Dabei brechen Künstler*innen wie Marie-Guillemine Benoist, William Turner oder Èdouard Manet provokativ mit tradierten Sujets, um aktuelle politisch-sozialkritische Themen anzusprechen, wie Prostitution, Versklavung oder das Elend der Arbeiterschaft.
Die Erfindung der Abstraktion im 20. Jahrhundert stellt einen noch gravierenderen Bruch mit der Kunstgeschichte dar. Erwin Panowsky selbst erklärt hier die Methode der Ikonografie für obsolet, da kein europäisch tradiertes Bildvokabular mehr Anwendung findet. Die Kunst Hilma af Klints, Wassily Kandinskys und Kasimir Malewitschs sprengen mit ihren gänzlich abstrakten Werken sowohl formal als auch inhaltlich den bisherigen Kunstbegriff. Die Moderne schlägt neue Wege ein
und liefert zugleich eine Vielzahl an erklärenden Manifesten.
Nicht nur gegenständliche Motive, auch die Farben selbst, die Beschaffenheit der Materialien, die Geste des*r Künstler*in und die Wirkung abstrakter Kompositionen erzeugen Bedeutung, indem sie Assoziationen anstoßen. Hans Dieter Huber legt 1989 an Hand eines Gemäldes von Robert Rauschenberg eine abstrakte Bildsprache dar, die sich durchaus entziffern lässt. Diese ist allerdings weniger festgelegt als die Ikonographie. Mit ihr einher geht die Erkenntnis, dass ein Kunstwerk nicht mehr in seiner Aussage eindeutig, sondern das Publikum interaktiv mit einer eigenen
assoziativen Deutungsweise am Werk beteiligt ist. Umberto Eco prägte 1962 in diesem Sinne den Begriff des „offenen Kunstwerks“.
Mit der Erweiterung des Kunstbegriffes entstehen immer wieder neue Kunstformen. Nach Tristan Tzara findet das Theater auf der Straße statt. Marcel Duchamp erklärt industriell gefertigte
Nutzgegenstände zur Kunst. Nach Joseph Beuys ist jeder ein Künstler, und nach Arthur C. Danto zeichnet die Möglichkeit einen Gegenstand zu deuten, seine „Aboutness“ diesen als Kunstwerk
aus.
Der Artivismus des 21. Jahrhunderts löst die Grenzen zwischen Kunst und politischgesellschaftlichem Aktionismus auf. Was sind nun die Kriterien für ein Kunstwerk, und wie kann man es deuten?
Das Seminar widmet sich der Interpretation von Kunstwerken der europäischen Kunstgeschichte vom Mittelalter bis zur Gegenwart. Dabei werden verschiedene Methoden vorgestellt und
zugleich ein erster Überblick über die Kunstgeschichte vermittelt. Im Rahmen eines Museumsbesuchs üben wir das Erlernte vor Originalen anzuwenden.

Lit:
Arthur C. Danto, Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective (1992), deutsch: Kunst nach dem Ende der Kunst, München 1996
Umberto Eco, Opera aperta. (1962), deutsch: Das offene Kunstwerk, Frankfurt/M. 1973
Michael Hauskeller, Was ist Kunst? Positionen der Ästhetik von Platon bis Danto, München 1998
Hans Dieter Huber, System und Wirkung, Interpretation und Deutung zeitgenössischer Kunst, Beck’sche Reihe BsR 1254, München 1989
Erwin Panowsky, Meaning in the Visual Arts (1955), deutsch: Sinn und Deutung in der bildenden Kunst, Köln 1975
Das Forschungsseminar Antisemitische Ikonographie greift das Thema der Antisemitismusvorwürfe im deutschen Kulturbetrieb auf und bietet einen fachlichen Reflexionsrahmen. Dabei soll eine Lektüresitzung zu 'Frenemies. Antisemitismus, Rassismus und ihre Kritiker*innen' (2022) ein Diskussionsfundament liefern und die Debatte um Taring Padis Tuchbild 'People’s Justice' auf der documenta fifteen als Einstiegsbeispiel dienen. Die politische Ikonographie, von Aby Warburg begründet und von Martin Warnke institutionalisiert, soll als methodischer Rahmen dienen einzelne Beispiele antisemitischer Ikonographie in ihrer historischen Tiefe zu erforschen.

Das Seminar simuliert während des Semesters eine Forschungsgruppe in Miniatur, sodass gemäß des Forschenden Lernens nach Ludwig Huber alle Forschungsphasen durchlaufen werden, von der Themenauswahl über die Erforschung der eigenen Fragestellung bis hin zu einer Abschlusspräsentation der Ergebnisse.

Im Rahmen des Seminars wird am Abend des 15.5.2024 Andrea Osters Film 'Collection of Hate – Images of Antisemitism' (2023) im Blauen Salon gezeigt.
From Stupidity to Ecology in Digital Arts is a seminar by Prof. Anne Duk Hee Jordan, which continuation from WiSe 23/34.

Course Outcomes:
- Learn and practice Critical Analysis: Understand the interplay between perceived stupidity and intelligence in the digital age.
- Interdisciplinary Knowledge: Integrate concepts from digital arts, ecology, and technology studies.
- Improve and learn about Personal Initiative and Flexibility & Presentation Skills:
- Introduction to Concepts Ecologies
- Conceptual Artwork Creation (RUNDGANG)

There will be excursions and Sprechstunde accompanying the seminar more information will be given in the beginning of the semester.

Lesitungsschein given upon completion.
"Polemics and manifestos have always served as spark plugs to my energies and imagination."
–Yvonne Rainer

Can we agree on the unsolvable conundrum of not knowing how much our lives, politics, desires, and decisions are also formed, informed, and scripted by cinematic narratives and lens/screen-based imaginaries? A question rather left as a hanging inquiring pendulum. This seminar will approach cinema, moving image, and performance from a place of urgency, needs of rupture, drives for survivance, and struggles for social and ecological justice.

We will look at film manifestos as tools of those not included - ignored or stereotyped - in the classic film canon and how manifestos inform cinematic practices that challenge and corrupt the steady flow of politics, economics, aesthetics, and history productions. We will engage with writings, aesthetics, critical forms of production, and cinematic gestures resulting from feminist, anti-colonial, indigenous, and ecology-concerned positions.

This semester, the 4-days seminar will inform the practical block seminar Performing Dif:ference.

Schedule:
30.04.2024 - 14:00-18:00 - troubling bodies – Yvonne Reiner
21.05.2024 - 14:00-18:00 - performing masculinity - Claire Denis
04.06.2024 - 14:00-18:00 - choreographies for a camera - Maya Deren
02.07.2024 - 14:00-18:00 - (in)visibilities - Hito Steyerl

(a complete syllabus will be presented on April 17th)
"As you can see, 'difference' is essentially 'division' in the understanding of many. It is no more than a tool of self-defense and conquest."
–Trinh T Minh Ha

Historically and contemporarily, "difference" has been deployed in social politics to produce separation and division between people, groups, and agencies. Although "difference" can be the departing point for connection, exchange, collaboration, affect, and togetherness, its otherwise aspects have been insistingly instrumentalized as political tools towards divide, separation, conflict, privilege, and inequality, which has been informing socialities, inscribing bodies, and affecting and impacting relations. Critical artistic positions in film and performance have been focusing on and reflecting through these social phenomena and performing socialities of togetherness within difference.

Performing Difference is a four-part hands-on block seminar where students will work with performance, moving-image, and display technologies in dialogue with various artistic and theoretical positions. The block-seminar will draw a curve of practical experimentation and production in four phases, with the following learning outcomes:

PERFORMING DIFFERENCE #1: from thought to body
Exercising with body awareness, score, and performance; research artistic positions of historical filmmakers working with performance to engage in body politics, social ethics, and power relations. Inquire about the relationship between women's relations to computation, score, and algorithm, learning about parameters of the body & parameters of the software. Render an idea, a trouble, a cause, a feeling into a performance score;

PERFORMING DIFFERENCE #2: from skin to grain
Experimenting with camera work and performance; revisit concepts of the "model" in Robert Bresson's reflections on cinematography. Produce the shooting of students' scores.

PERFORMING DIFFERENCE #3: from pixel to surface
Experimenting with post-production and interactive displaying formats and studying technologies, aesthetics, and politics of visibility. Knowledge and experience with the most popular cross-platform game engines and multimedia software that supports 2D and 3D graphics, such as Madmapper, Resolume, TouchDesigner, and Unity3d. Learn how to use Mediapipe on pre-recorded footage, apply computer vision for motion tracking using TouchDesigner, and transfer data via OSC to the VJ software.

PERFORMING DIFFERENCE #4: Rundgang presentations
Setting up one collective installation or a series of individual installations for the Rundgang.

Schedule:
#1 - with Helin Ulas and Prof. Filipa César
30.04.2024 – 10:00-13:00
(30.04.2024 – related seminar – Manifestly Cinema #2 – Yvonne Reiner)
(01.05.2024 – related seminar – score for an immaterial labor demonstration)
02.05.2024 - 10:00-17:00
02.05.2024 - 10:00-17:00

#2 with Nico Hain and Prof. Filipa César
21.05.2024 – 10:00-13:00
(21.05.2024 – related seminar – Manifestly Cinema #2 – Claire Denis)
22.05.2024 - 10:00-17:00
23.05.2024 - 10:00-17:00
24.05.2024 - 10:00-17:00
(04.06.2024 – related seminar – Manifestly Cinema #2 - Maya Deren)

#3 with guest artist Lucas Gutierrez and Prof. Filipa César
01.07.2024 - 10:00-17:00
02.07.2024 - 10:00-13:00
(02.07.2024 – related seminar – Manifestly Cinema #2 – Hito Steyerl)
03.07.2024 - 10:00-17:00
04.07.2024 - 10:00-17:00

#4 with Prof Filipa César and Helin Hulas
18.-20.07.2024
Last summer in Karlsruhe, I attended the graduation show of the Staatliche Akademie der Künste. I speculated on reasons as to why there aren’t any prosperous connections between these two institutions. The students at the Akademie mainly exhibited paintings within the walls of their capacious, tranquil ateliers. Along the walls, on small plinths or window frames, I found publications of their fascinating artwork, and thought: “perhaps some designers would like it here too”. The seminar will attempt to make new connections across the bridge between art and design, and prompt genuine alternatives of the designer’s range in a colophon.

A precursor – with required attendance – is a workshop by designer and editor, Matthew Stuart titled: To Bookmark / To Table / To Triangulate. In collaboration with Andrew Walsh-Lister, Matthew edits and designs the irregular journal / multifarious publisher: Bricks from the Kiln. Together they run the studio: Traven T. Croves. Andrew is part of the curatorial team for the current exhibition: Lily Greenham: An Art of Living, at the Badischer Kunstverein in Karlsruhe. A two-day symposium on the exhibition, will be part of the seminar as well. Andrew and Matthew will guest teach a seminar day too, picking up seeds planted in the workshop and/or symposium.
A lot of coders would rather spend two days writing a script to automate a task than spending two hours just doing it. And many illustrators would rather spend two days drawing the same shape than spending two hours automating it. Therefore, the first step in this seminar will be to figure out when and how coding can actually help us in the process of illustrating. Do we want to augment or animate existing illustrations, create our own drawing tools, or even not draw at all but have a generative code snippet provide endless variations of shapes and lines for us?

With small exercises, we will familiarize ourselves with creative coding using javascript and paperjs -- a vector-based graphics library providing most of what Adobe Illustrator offers (and much more!).

Throughout the seminar, you will create various code snippets, exploring and experimenting with the different applications of creative coding and illustration. In the end, we will have a comprehensive collage of snippets and tools that are compatible with each other: for example your flower generator will be distorted by student X's wobbly line effect and then animated with student Y's crazy animation function. We'll document our tools and, keeping the spirit of open source projects like paperjs, create a fun and interactive documentation website which we can share with the rest of the world.

No prior coding experience needed (but helpful).
I write this brief for our upcoming seminar while hot desking at Die Keure, a printing company on the outskirts of Bruges, Belgium. I am here to oversee the production of a museum catalog and every half hour, I enter the factory floor where the repetitive hum of rotating printing cylinders engulfs me.

Production is the act of creating something, most often with machinery, at high speed and mass scale. Prior to the invention of the printing press, scribes were hired to make exact copies of manuscripts. As a result, italic letterforms can be linked back to the brush strokes necessary to reproduce manuscripts by hand as precisely and quickly as possible. The origins of typography can be traced back to the invention of hand-operated moveable type and steam-powered industrial presses, introducing a revolution in mass communication worldwide.

During the Industrial Revolution, technological innovation enabled manufacturing to transition from a dependance on handwork to one that incorporated processes driven by machines. In our post-industrial society, the economy has shifted away from the production of goods to one centered around services and knowledge. The experience economy is driven by flexibility, mobility, and circulation where a few large technology companies control all of the world's artificial intelligence, social networking, entertainment, and financial services.

Today, while in the office at Die Keure, between trips to the factory floor, in addition to writing the brief for this seminar, I have been texting with the museum director and emailing with clients and students. Over the last 17 years of working intermittently with Die Keure, project managers have become younger and hipper, reachable by text message or DM, blurring the boundary between colleague and friend. Similarly, I've observed their office interior evolve from a spartan factory room into the style of a vaguely European, modern working space – recognizable by their bleached wood floors, bold wall paint colors and molded plastic chairs, as popularized by TV shows like Emily in Paris.

Parallel to the evolution of work at Die Keure, in the past two decades, production and labor in a post-industrial world have changed dramatically. Most of the world's objects are now produced through global supply chains and the growing presence of artificial intelligence and automation foreshadows an ominous end to physical labor and work. In this seminar, you will be asked to consider the status and significance of production within the context of the post-industrial landscape.

Over the next 6 classes, you will research a historical, contemporary or speculative production method related to the field of graphic design. What are the possibilities of this means of production? What were the historical precursors to your chosen production method, how did it evolve over time, and what practices will become obsolete as a result? What socio-economic or cultural ramifications does your method of production have on the workplace, labor, social relations, the environment and other contexts?

When researching your topic, gather text, images, video, audio, and any other content that relates to your subject matter. After gathering your research, you should find an appropriate medium to translate the research through, a visual language to frame it, and a means of production to exhaust to its limit.
Special forms of cinematic narration: One of the essential human abilities is the ability to tell stories; one of the essential human needs is the need to listen to them. Throughout the long and adventurous history of humankind we invented numerous forms and ways of doing that. These forms and ways have their own rules and principles which largely depend on a context, i.e. on the spatial and temporal conditions of a story-telling (and story-listening) process. Reflecting this multifaceted tradition the course will provide its participants with a basic knowledge on the history, theory and practice of various innovative narrative forms and strategies. By analysing historical and contemporary examples we will learn different forms and methods of storytelling as well as some of their counter forms and strategies in media arts, film and theatre. We will apply this knowledge in our own artistic experiments and course projects.
The beginnings of modern audiovisual media such as photography and film are known to lie in the documentary. Their primary function initially consisted of capturing the sensually perceptible moments of 'reality', the so-called 'factual', and preserving and transporting this beyond the boundaries of time and space. The use of these media for the fictional only began later. However, an artistic experimental approach to both documentary and fictional forms made the relativity of the distinction between these categories very clear, as Sergei Eisenstein put it in 1925: "For me, it doesn't really matter what means a film uses, whether it is an actor's film with staged images or a documentary film. A good film is about the truth, not about reality." Against this background, the seminar offers an introduction to the history of documentary forms in art and film, which will be discussed using various historical and current examples, from the Lumière brothers, Robert Flaherty, Dsiga Wertow ("Kino-Auge") to Direct Cinema and Cinéma Vérité, essay films by Chris Marker and Harun Farocki to the latest experiments with documentary approaches and formats.
We will discuss strength and weakness, opportunities and threads of Artificial Intelligence in the context of arts and design.
We will share knowledge and experiments and prepare a research and development paper for future investigations.
You must have heard this word almost every day – “the West”. It gives you a clear impression of an acting subject: the West “must do this or that,” the West “stays strong,” it “has made its decision,”... But, beyond one of the four cardinal directions, what or, rather, who the hell is this “West”?
We will open the discussion with a case study: “Interpol, The Art Exhibition which divided East and West,“ 1996 in Stockholm. Russian performance artist Alexander Brenner destroyed a work by fellow participant, Wenda Gu, while another Russian artist, Oleg Kulik, performing as a dog on a chain, bit some visitors provoking the police intervention. We will read and analyze An Open Letter to the Art World, written and signed by a group of artists and critics in reaction to the affair. This will lead us to more general questions: are the so-called Western values actually the universal values, and more particularly, is there any art (history) beyond the Western art (history); what the West has to do with the concept of civilization; who does and who does not belong to the West, and why …? Finally, we will not be able to avoid a more political and at the same time existential question: do we want to live in a world divided into competing and increasingly conflicting normative identity blocks, or, to put it short: is there a life after the West?
The major task of the seminar is to continue and expand the discussions on digital writing, „Freudian robots,“ and the limits of AI held in the Winter semester. These topics will be now addressed in the context of an unprecedented social, cultural, and existential transformation brought about by the use of digital technology. We will ask: how has the internet changed our lives and occupied almost all the spheres of our social life, cultural practices, and artistic production; why and how can the genealogy of this transformation be traced back to the rise of knowledge-economy at the end of the 19th century; what the increasing digitalization has to do with the culturalization of economy and technologization of culture?
The course will pay particular attention to how the digital turn has radically transformed the way we (re)produce and distribute knowledge today. Last but not least, we will focus on the political consequences of digitalization and ask how are they shaping our future in terms of its post-democratic and commons-based developments. The class will engage in close reading of one essential text - Felix Stalder’s The Digital Condition.
– Another day of greatly misjudging what a single serving of pasta looks like.
– If you want this job, we must interview you forever.
– Do you have a minute to talk about the week I took a break from social media?
– Meditation is great, but have you ever zoned out while eating a whole bag of chips?
– No one would run a marathon if they were not allowed to talk about it.
– Netflix should have a category called ‘easy to follow while looking at your phone the whole time.’
– Everyone talks about how social media is bad for your mental health, but what about Excel?

Whether driven by interest, intuition, boredom, or distraction, we use our digital devices to save, share, screenshot, like, bookmark, and collect images, texts, sounds, effects, products, places, and playlists. Platforms such as TikTok, Instagram, Twitter, and Spotify facilitate the curation of diverse imagery and sound through memes, cartoons, food recipes, news and playlists, among many other things.

Beyond the mere act of collecting, we will look at how these assortments can be used for personal and group projects, serving as material for research themes. We will analyze the transformation of these materials as they get repurposed, shared, and remixed, becoming difficult to trace their origin. As we examine the relations within the materials we collect, we will learn to trace connections and draw insights from our digital and physical collections.

In addition, the seminar will be accompanied by film, music, readings, cooking, as well as visits to physical collections.

*TL;DR or tl;dr, short for “too long; didn’t read”, is internet slang indicating that a block of text has been ignored due to its length. It is also used to introduce a summary of an online post or news article, as well as an informal interjection.
Founded in 2011, The Serving Library is a publishing platform that periodically releases individual PDF essays (or ‘bulletins’) on a wide variety of topics via www.servinglibrary.org, and simultaneously collects them into a more-or-less annual printed journal. Alongside this activity, a parallel collection of (mostly) framed objects has been amassed over the years, built from the original source material of items originally illustrated in the publications. For as long as The Serving Library continues to publish, the collection potentially continues to grow – consisting of around 100 pieces at the time of writing.

The items are wildly diverse, from unique artworks including airbrush paintings, watercolours, and a ouija board designed to contact Josef Albers in the afterlife, to mass-produced goods including various record sleeves, book covers, and a German car number plate. The unusual premise of the collection means many typical value systems are effectively flattened: it is equal parts art and utility, rare and ubiquitous, precious and throwaway, local and international. The only real common denominator is that each is the tip of an anecdotal iceberg that can be extracted and put to use in various contexts – not least pedagogical ones.

Over time, the collection has been displayed in many different ways in many different contexts for many different reasons. In this course you will work in groups to work out one such exhibition, responsible for deciding what, where, how, why, and for whom it will be on show. Once this is resolved, you will then design some form of instruction to articulate the idea to a third party, ensuring that it is correctly installed without you having to be present. With any luck, we may have the opportunity to actually realise one or more of the proposals in the future, so what appears to be a hypothetical project may end up not hypothetical at all.
This bi-weekly seminar researches gardens as cultural, biological, ecological, and political phenomena. Historically, gardens have served as blueprints reflecting societal values and ideologies. But what significance do they hold in the era of the Anthropocene?

GARDEN AS AN EVENT
Viewed as dynamic multimodal mediums intertwining with biomatter, gardens emphasize the importance of time through seasonal planning, life cycles, and daily rhythms. Understanding gardens as assemblages of events, involving interconnectedness of human and non-human bodies as well as architectural forms within unique ecosystems, is key. Gardening thus emerges as a distinct form of eventness, where human and non-human actors gather in designed multisensory environments.

GARDEN AS A DRAFT
Focused on the phenomena of a garden to visually narrate it as a pleasant place with aesthetic affect, participants of this seminar will try to identify, deconstruct, and systhetise diverse processes, mechanisms, and approaches that are utilizable and adaptable throughout and within disciplines of design and media art. Inspired by guerrilla gardening and queer ecology, they will engage and go beyond physical and digital botany by focusing on making experimental garden-like game environments and time-based media.

GARDEN AS A METHOD
The aim is to activate the garden not just as a physical space but as a vibrant event conducive to ecological inquiry, artistic expression, socio-political examination, and cultural experimentation. Therefore participants will design for and with the environment, attuning themselves to the voices of plants, weaving symbiotic connections with non-humans, and engaging visually in gardening techniques such as seeding, fertilizing, grafting, contaminating, watering, composting, and weeding. Importantly, this exploration will be contextualized within the lens of the current climate catastrophe and coloniality of planting.

More Information:
Seminar days contain a guided field trip to Karlsruhe Botanical Gardens and involvement in a hybrid collaborative program of Living Futures Colloquium – which is a legacy of BioDesignLab and Living Library.
The seminar values and celebrates diversity. Students with various skill sets are welcome.
During the winter semester the chapter 1 to 4 of this seminar advanced an aesthetical hypothesis and raised the following questions: could a possible reconfiguration of the relationship between the narrative and the camera work be defined? In other words, could a meeting point between cinematography and the narrative be forged so the aesthetic of a film serves, informs and more importantly reflects its subject? To support this hypothesis, outstanding feature length narrative films and shorts have been studied to investigate their technicity, their scene building, the work of their images and the kind of reception of the viewer they design.

During the summer semester the chapters 5 to 8 of this seminar will concentrate on applying this aesthetical hypothesis to:

- Chapter 5: The pre-production of a short film exercise which will be shot end of May with Claire Mathon, who received a French Cesar for best cinematography for C.Sciamma’s Portrait of the Lady on Fire (See: Seminar with Claire Mathon). This short exercise will focus on the somatic part of this hypothesis, the experience of the relationship between a camera, a bio-organic reality and a narrative movement that ambitions to venture off charts in search for a coincidence between a fictional and a cinematographic form.

- Chapter 6: The preparation of Matthieu Taponier’s seminar for which two feature films will be screened as example and your scripts, which will be workshopped during his seminar, will be reviewed (See: Seminar with Mathieu Taponier).

- Chapter 7 and 8: We will work on the post-production of the short film exercise made with Claire Mathon and follow up on the advice given by Matthieu Taponier to your scripts and choice of cinematography.
[English below]
Heutzutage sind wir alle Zeug:innen von bewaffneten Konflikten, Kriegsverbrechen und Menschenrechtsverletzungen - sie streamen in unseren Newsfeeds, poppen in der Google-Bildersuche auf und illustrieren unsere alltäglichen medialen Interaktionen. Diese digitalen Dokumente, die in sozialen Netzwerken hochgeladen und verbreitet werden, stellen eine neue Dimension der Zeugenschaft dar und sind somit eine wertvolle Ressource für die Sammlung von Beweismaterialien und strafrechtliche Ermittlungen. Allerdings haben die erhöhte Sichtbarkeit und die weltweite Zirkulation von Gewaltdarstellungen nicht notwendigerweise zu größerer Verantwortung oder Solidarität geführt. Dies wirft die Frage auf: Wie werden Beweismaterialien zu Beweisen?

In diesem Seminar untersuchen wir, wie digitale Dokumente in Gerichtsverfahren, Nachrichtenberichten und Kunstausstellungen präsentiert, kommentiert, mobilisiert und angefochten werden - und reflektieren, wie dies unseren persönlichen Umgang mit diesen Materialien in unserem Medienalltag beeinflusst. Gemeinsam diskutieren wir, wie verschiedene Beweismaterialien und -methoden (Bürgerjournalismus, Überwachungsaufnahmen, forensische Untersuchungen) verschiedene Formen von Gewalt (rassistische, koloniale, ökologische) bezeugen, zu welchen Zwecken und mit welchen Konsequenzen. Wir ziehen eine Reihe von Fallstudien heran, die von Gerichtsverfahren wie dem Prozess um Rodney King und dem Verfahren Südafrika gegen Israel vor dem Internationalen Gerichtshof über zivilgesellschaftliche Initiativen, darunter Forensic Architecture, Territorial Agency und Mnemonic, bis hin zu künstlerischen Projekten, beispielsweise von Rabih Mroué, Heba Y. Amin und Harun Farocki, reichen. Unser Ziel ist es nicht, den Wahrheitsgehalt einzelner Ereignisse zu beurteilen, sondern die ästhetischen und affektiven Strategien zu identifizieren, die zur Konstruktion von Beweismaterial eingesetzt werden.

Das Seminar ist ein geschützter Raum, in dem während des gesamten Kurses entsprechende Schutzmechanismen zum Tragen kommen. Die Auswahl der Fallstudien wird sorgfältig erwogen und kontextualisiert und verzichtet auf explizite Darstellungen von Gewalt. Teilnehmer:innen sollten dennoch beachten, dass das besprochene Material gewaltvolle Ereignisse thematisiert, die manche als belastend empfinden könnten.

//

Today, we are all witnesses to armed conflict, war crimes, and human rights violations—they stream on our news feeds, pop up in our Google image searches, and illustrate our everyday media engagements. These testimonies, uploaded and circulated on social media networks, present a new dimension of witnessing and, as such, an invaluable resource for evidence gathering and criminal investigations. At the same time, however, the increased visibility and global dissemination of digital documents of violence have not necessarily led to greater accountability or solidarity. This raises the question: how does evidence become evident?

In this seminar, we will examine how digital documents are being presented, narrated, mobilised, and contested in legal proceedings, news reports, and art exhibitions—and reflect on how this informs our own encounter with them in our everyday media engagements. Together, we will consider how different evidentiary materials and methods (citizen journalism, surveillance footage, forensic investigation) come to testify to different forms of violence (racial, colonial, environmental), to what ends and to what effects. We draw on a range of case studies ranging from court cases, for instance the Rodney King trial and the International Court of Justice hearing South Africa v. Israel, to civil initiatives, such as Forensic Architecture, Territorial Agency, and Mnemonic, and artistic projects, including Rabih Mroué, Heba Y. Amin, and Harun Farocki. Our aim is not to establish the veracity of particular incidents, but to identify the aesthetic and affective strategies used to construct evidence.

The seminar is a safe space and safeguarding mechanisms are in place throughout the course. The selection of case studies will be carefully considered and contextualised and will avoid explicit depictions of violence. Participants should nevertheless be aware that the material discussed will address violent events that some may find distressing.
Act I: Records of time
Act II: Keeping time
Act III: Moving time

Monday, 9am. Weekly report available.
Your screen time was up 32% last week, for an average of 3 hours,
44 minutes a day.

Time Doctor, Timely, My Hours, Desk Time, Hourly, Harvest, Rescue Time, Tyme, Time Camp. Clocking in and out. Remember: Time is money!

SELLING TIME
In 1916, Ethel Cain, the speaking clock, won the Golden Voice Contest to become the first woman transmitting time via the telephone. With this achievement, she became the new time lady, replacing Ruth Belville, who had sold time to a select group of customers throughout her life. Belville had inherited the business from her father, an employee of the Royal Observatory in Greenwich. Until the late 1930s, she would synchronize her watch, Arnold, with Greenwich Standard Time displayed in the observatory's entrance hall and then go on to sell this information to businesses and individual subscribers in London.

TIME WILL TELL
Time is the most used noun in the English language, and many argue that clocks don't tell time; they produce it. They have become the very thing they were meant to represent.
Clock time, we believe, reflects some form of absolute and true time monitored by scientists around the globe. In Western education, we're taught that the time in our clocks is determined by the Earth's rotation and the sun's movement across the sky. According to this narrative, the Earth completes one orbit around the sun in 365 days, defining our year, and rotates on its axis every 24 hours, signifying our day. Consequently, an hour represents 1/24 of this rotational period, a minute is 1/60 of an hour, and a second is 1/60 of a minute. Boom! Beautiful numbers, divine perfection. But wait…
The Earth isn't a perfect sphere with flawless motion; it's an uneven, lumpy, wobbly, slightly squashed mass that experiences fluctuations. Its rotation doesn't precisely align with 24 hours each day, nor does its orbit around the sun consistently span 365 days each year. The truth is, the Earth's rhythms are more nuanced and varied than our neat calculations suggest. It's wishful thinking. Precise time is human-made. It's artificial. It's science fiction!

KILLING TIME
In 1884, clock time took over the world. The globe was sliced into 24 time zones, all synchronized with and derived from GMT, the time of the British Empire. The Western separation of clock time from natural phenomena or rhythms enabled imperialists to establish dominance over other cultures. In regions where globally standardized time is enforced, resistance still exists, as seen in China, where the entire nation adheres to a single time zone known as BST (Beijing Standard Time). However, in Xinjiang, approximately 2,000 miles west of Beijing, the imposition of BST leads to peculiarities, such as the sun occasionally setting at midnight according to this time standard. In response, many Uighur communities in the region use their own form of local solar time instead.
In Aboriginal communities, time is perceived differently. Rather than a linear progression, time is often understood as cyclical, intertwined with the natural world and the spiritual realm. Events are marked by natural phenomena like the changing seasons, the migration of animals, or the blooming of certain plants. Traditional ceremonies and rituals further emphasize the fluidity of time, with elders passing down stories and knowledge across generations, creating a timeless connection to the past and future. There is no word for time. Time equals place.

LOST TIME
Time can only be stolen if you believe it's yours. While smoking their cigars, the Gray Gentlemen probably advised you to put your time in the timesaving bank (or track it with the Hourly app).

In the seminar LOST TRACK OF TIME, we will research, compile, test, observe, build, perform and investigate alternative notions of time. We’ll abandon chronos and befriend kairos, who is unstable, messy, and alive.
This seminar is the generative phase of The Reflexive Camera Seminar.

The first day Claire Mathon will introduce us to her practice as a cinematographer. She has shot Alain Giraudie’s Stranger by the lake (Best Queer film, Cannes FF 2013), Mati Diop’s Atlantics (2019), Pablo Larraín’s Spencer (2021), Alice Diop’s Saint Omer (2022) and has received the Cesar for best cinematography for Celine Sciamma’s Portrait of the Lady on Fire (Best Queer film, Cannes FF 2019). We will hear her talking about her thought pathway and experience, how she collaborates with directors, her understanding of the making of film and her approach to camera placement in relationship to a narrative.

The second- and third-day Claire Mathon will work on the short film script written during the Reflexive Camera Seminar. With her, you will search for the different options to reconfigure a possible relationship between the narrative and the camera, find a meeting point between cinematography and a story line so the aesthetic of the camera work serves, informs and reflects its subject. This short film exercise will be shot outdoors to grasp a particular moment of natural light as a performative and challenging task to magnify the story line. Our goal with the exercise is to experience what film may accomplish in a somatic and in a political way.

This short film exercise will presented at the end of the semester.
This seminar is the generative phase of The Reflexive Camera Seminar.

During these three days Matthieu Taponier will first introduce us to his practice – as an editor, screenwriter and script consultant who famously collaborated to the writing and editing of László Nemes’ Son of Saul (Grand Prix Cannes FF 2015, Oscar Best Foreign Language Film 2016), Dea Kulumbegashvili’s Beginning (Golden Shell for Best Film, Silver Shell for Best Director and Actress, San Sebastián International FF 2020) and Felipe Gálvez Haberle’s The Settlers (FIPRESCI Prize Un Certain Regard Cannes FF 2023). We will hear him talk about his thought pathway and experience, the practical tools he has designed to collaborate with directors, his understanding of the ontology of images and his approach to editing and storytelling.

Then a lecture will take us through Matthieu Taponier’s unconventional and knowledgeable approach of narrativity. The history of the different forms of storytelling and the dominant model used in film schools will be untangled and challenged, its reason and strength will be deconstructed. This lecture’s aim is to shed light on the vast reservoir of narrative fictional forms that history has concealed. We will talk about the possibilities of the undramatically structured novel and the hero-less play, the adaptation of epic, picaresque, episodic, chronical or portrait stories and identify why these storylines come against the dominant fictional film model. This transformative and liberating lecture will offer an encompassing way of looking at the different narrative possibilities in film.

Finally, this seminar will take a workshop form. We will take turns in discussing students’ script in order to bring everyone’s labour force and intellectual agility into formalising challenging but useful advice. This structured session is designed to create a collective learning experience. The feedback provided will empower the ones who presents their work. What each student will get out of this workshop is a caring set of practical notes that will nurture their work.
Wild Casting refers to casting non-professional actors for a film. It often leads to a surprising and memorable interpretation of a character which challenges and defies the logic of fiction. But how does one do a wild casting?

During the winter semester we have untangled this through a thorough presentation of the particularities of wild castings, its different methodologies and we have seen examples.

During the summer semester Stephane Batut will first introduce us to his practice as a casting director who has work on Saint Omer by Mati Diop, Benedetta by Paul Verhoeven, Stranger from the Lake Alain Giraudie, Music by Angela Schenelec among others.

Casting exercises will then be organised. This will give you the occasion to experience how a person could embody a persona and how a character can be cast in a non-professional actor. These exercises will be done with the close supervision of Stephane Batut and Marine Hugonnier.

It is highly recommended that the same student who attended the seminar on 06.02.2024 come to this last summer iteration to have a complete overview in order to demystify this daunting task and give you the experience you need the day you will want to cast a family member, a friend or a complete stranger.
“What binds the universe together at its core?”, Faust asks. “What binds Typography together at its core?”, you ask back; how do you kern a word? How do you collect clouds? Use a grid? Chase rainbows? Justify text? Sort through rain? Use punctuation marks? Listen to dust? Build information hierarchies? Wait for sand? Format footnotes? Turn to air? We will work on publications as instruction manuals for natural phenomena, in order to explore micro- and macrotypography, research and performance.
Der Grundlagenkurs bietet eine umfassende Einführung in die Bedienung der professionellen Hochschulkameras nebst deren Zubehör (+Rig/Grip) und ist Bedingung für die Ausleihe der jeweiligen Geräte.

Begrenzte Anzahl von Teilnehmer:innen, Anmeldung nur per Anmeldeformular Medienkunst, regelmäßig jedes zweite Semester.
Sprachen: Deutsch und / oder Englisch.
Der Kurs bietet die spezialisierte Einführung in die Bedienung der Digitalen Filmkamera Arri Alexa inklusive erweitertem Zubehör (Dolly Grip, Licht) und ist Bedingung für die Ausleihe der jeweiligen Geräte.
Voraussetzung Teilnahme: Grundlagennachweis „Digitale Videokamera“ notwendig, Anmeldung nur per Anmeldeformular Medienkunst, regelmäßig jedes zweite Semester.

Sprachen: Deutsch und / oder Englisch.
Der Fokus des Karlsruher Festivals liegt auf der Dokumentation. Im Gegensatz zu anderen Dokumentarfilmfestivals konzentriert sich dokKa auf die Vielfalt von Dokumentationen. Dabei wird die Wahl des technischen Mediums (Film, Ton, Installation) dem Inhalt, der künstlerischen Form und der thematischen Auseinandersetzung untergeordnet. Es werden jährlich bis zu 20 Filme und Hördokumentationen präsentiert. Demnach ein Grenzgänger und offen vor allem für experimentelle und neue Formen. Wichtig für das Festivals ist die anschließende Diskussion mit den Regisseur:innen und Autor:innen. Gemeinsam mit Studierenden anderer Hochschulen werden in gesonderten Werkstattgesprächen die Arbeiten noch genauer beleuchtet.
Sprachen: Deutsch und / oder Englisch.
"We believe in jouissance madness holiness and poetry
we are the virus of the new world disorder
rupturing the symbolic from within
saboteurs of big daddy mainframe"
- VNS MATRIX, 1991

Here, the unsolvable conundrum of not really knowing how much our lives, politics, desires, and decisions are formed, informed, and scripted by screen-based imaginaries turns to the times of the net.

This seminar will look at various forms of (new) media like video, net.art and electronic disturbance through the lens of urgency and the screen based wishes to escape the embodied realities of hetero-normative states of being, and enter the dreamtime space of alt.cultures and their struggles for liberation.

We will read related manifestos as tools of those not included in Big Tech's algorithm to see how they inform social practices that challenge and corrupt the steady flow of politics, economics, aesthetics and history. Learning with those unseen and unheard in dominant narratives that produce self-perpetuating powers, this seminar will dust off the utopic metallic cast of 90's cyberculture and re-examine its less shiny and more radical potentials.

A companion seminar to Manifestly Cinema, this will be continued over several semesters and navigate hacking, net.art, techno-feminisms, netzkritik and media art from below.

In the SoSe 24, we will navigate projects and texts by Coco Fusco, Donna Haraway, jodi.org, Olia Lialina, Alla Mitrofanova, MONGREL, nettime, The Otolith Group, Alexei Shulgin, UEBERMORGEN, VNS Matrix and more.
Just about fifty short years ago, a ball was paddled back and forth across a screen.
It wasn’t the moon landing, but this simple action was the basis of one of the first computer games. Pong was core in shaping what has become a multi-billion profit generating global industry. Since then, computer games have become that ubiquitous media that is everywhere in one form or another. Unifying, dividing, compelling, even addictive for some people, they are part and parcel of contemporary culture. Candycrush, Grand Theft Auto, Minecraft – just a few of the most popular games that are played by people everywhere on different digital devices. What about Communist Games, Indie Games, Art House games and all the other sub-genres? What are the engines behind the engines?

This omnipresent cultural phenomenon isn’t all high tech and cash flow, as arty geeks and nerdy freaks are also in the mix. In Playing with the (Im)possible – Computing Games, proposes a spectrum of seeing, playing and making games by artists, activists, developers and game enthusiasts.

Playing with the (Im)possible – Computing Games will look at game histories, practices and genres with an invitation for students to share their own experiences and works.

Press Play to Start.

Planned Excursion:
AMAZE - Games and Playful Media Festival
8-11 May, Berlin
“I realize I don’t know very much. None of us knows very much. But we can all learn more. Then we can teach one another. ...”
–Octavia Butler

This seminar stems from the seeds of research sown in the winter of 2023. Here, seeds are archival capsules that keep their information, and the potential plant or idea vegetating, and the key code to unlock the enclosed is the contact with water, moist air, sun, soil — an ecosystem -wild seeds, torrent seeding, Monsanto seeds, transgenics, creole seeds, native seeds, seedlings and seed banks. What are the natural or artificial environments that allow seeds to germinate, flourish, and reproduce, be it a plant, an idea or a technology? All seeds are deeply tangled with social, economic, ecological, political, and technological realities since they are the base of human, animal, and plant nurture.

Students are invited to continue with their research, experiments, and imagining the stories seeds tell and the environments they enable. All of this is seeding practices for enriching our own tools of collating, sharing and cross-referencing sets of data. Imagining seed banks as interactive libraries that can propagate across time and space, languages, histories, traditions. Is it a wiki, a databank, or a beautiful bladderwort that feeds on hyper-text, analog print images and archival recordings of oral traditions? What are the technologies that can grow these seemingly contradictory knowledges.

This journey is one of seeds, those that grow, those we sow, those we know, and those we don’t.

* Students that did not participate in the Seeding Seminar of WS 23-24 are welcome to join. The student research and practical projects are imagined as long term, spanning over several semesters with public presentations planned.
Heute temporäre Raumstrukturen zu entwerfen, ist durch die offensichtliche Notwendigkeit ressourcenbewußten Handelns wesentlich komplexer geworden. An dieser Stelle spielt der Einsatz modularer Elemente für szenografisch-installative Raumpraktiken eine wichtige Rolle. Dabei ist der Umgang mit modularen Systemen schon lange etablierte Praxis in Bühnen - und Ausstellungsbau, in der Regel als kaschierte Unterbauten und Wanddisplays. Was aber passiert, wenn wir die scheinbare Neutralität der Module hinterfragen und sie aus der Unsichtbarkeit herausholen?

Was bedeutet designen mit standardisierten Elementen für die Ästhetik im performativen Kontext? Lässt sich aus vorgefertigten Modulen eine eigenständige Ästhetik entwickeln? Worin kann das Spezifische unserer Verwendung von Fertigem bestehen? Wie können wir modulare Elemente nutzen, ohne nur noch in vorgefertigten Mustern zu denken und die Ideologien von Standardisierung und Rationalisierung zu bedienen? Wie können räumliche Strukturen in temporären Settings erschaffen werden, die transformierbar und nachhaltig sind, ohne beliebig zu werden?

In diesem Seminar werden Konzepte modularen Designs vorgestellt und diskutiert. Wir werden uns damit beschäftigen, was Module charakterisiert, aus welchen ästhetischen, ökonomischen und sozialen Kontexten Module stammen. Ebenso werden wir reflektieren, wie die Eigenschaften des Modularen wiederum unsere Entwurfsphantasien herausfordern und beeinflussen.
Der Schwerpunkt des Seminars ist praktisch. Konkret werden wir mit den an der HfG vorhandenen Podesterien und Modulwänden arbeiten. In Vorbereitung des Hochschulrundgangs am Ende des SoSe 24 werden wir experimentelle Bühnen und Displays für Veranstaltungen und Präsentationen entwickeln, die das ästhetische Potential der Module zum Vorschein bringen und darüber hinaus eine eigenständige installative Qualität entwickeln sollen.
Die Entwürfe werden am Ende des Seminars realisiert und während des Rundgangs bespielt. 

The idea of an instant archive evokes a contradiction about something we imagine is made to last. It is also far from what we think about social networks, which are often closer to an anti-archive, since preserving is far from being a concern on these platforms. Even so, we are all categorizing images, either through the use of hashtags or other resources. Even without having any idea if or how this material will be preserved, or if it will soon disappear.

From a multidisciplinary bibliography on Visual Culture, Art Theory, Museum Studies and Internet Studies, this course discusses through different case studies how institutions, artists, and every person has been using social networks for purposes such as collecting, artistic practices and/or activism. Is it possible to think of these environments as an archive, and the images we organize as a counter-collection (Beiguelman, Magalhães)? What is the agency limit initially associated with social networks when we currently see an increasing control of users with the improvement of Artificial Intelligence systems? The course addresses various aspects of the archive, from the notion of Social Documentation to its presence in contemporary art. The last class includes a hands-on approach, in which participants are encouraged to present a work or research from their personal collection, discussing methodologies on how to deal with this archive in online and offline spaces.
This practical seminar is derived from the Decoding the Colonial Algorithm colloquium of WS 23/24 and is shaped with ongoing student research in mind. It continues navigating through the myriad histories crossing over, under and through Karlsruhe. Borrowing tools from feminist practices and psycho-geography, students will generate their own embodied routes through time and space.

This results from looking at how culture is embedded in codes and how those codes are embedded in software and hardware and how this cycle repeats to reproduce cultural norms. It further looks at the colonial project and how its ghosts haunt the everyday and inhabit not just the devices we use and take for granted, but the social actions we all perform. The issues addressed involve questions like: Which of these actions are codified within the colonial operating system? How and where were they implemented and by whom? To what ends? How are they still in operation today? How are they present in the tools we use? What are the ghosts in the machine?

This will be complemented by the counter measures of the post-colonial, de-colonial and and anti-imperialist struggles and practices, both contemporary and historical and how those take form in the social and political and in arts and cultural practices. We will also delve into the sometimes murky territory of terminology: how language itself functions as a code. When you know the codes, you have the keys.

The seminar will include ongoing research, local excursions and navigating routes that demonstrate the multiple dimensions present in the every day. These routes will be activated during the Rundgang, taking the form of guided city tours, and broadcasts on Radio-Choreography: Acts of Transmission local broadcasts and other future public events.

* Students that did not participate in the WS colloquium are welcome to join and advised to request advance research notes and material.

The seminar is accompanied by the
Ghost Haunting and Queer Gaming
Workshop with Charlotte Eifler & Rosa Wernecke
Traditional history of photography assembled over past eight decades (or so) overlooks ideas of feminism. Photography has been a reliable witness to woman’s movement and made the causes for which they fight visible. Feminism as a set of ideas, has shaped how photographers have approached their medium - and how we make sense of it. It’s time for some new narratives.
These introduction seminar consists of input session on various photographic positions and working methods as well as short historical outline to theoretical discourse. Additionally through practical assignments participants are invited to exercise different working methods.
Karlsruhe ist Sitz des Bundesgerichtshofs, der Bundesanwaltschaft und des Bundesverfassungsgericht und für viele Menschen synonym mit höchstrichterlichen Entscheidungen, die auch die Politik betreffen. Aus der Bewerbung als europäische Kulturhauptstadt ging u. a. die Idee für ein "Haus der Gerechtigkeit" hervor, das als Schnittstelle zur Öffentlichkeit dienen sollte. Der Bundestag verabschiedete schließlich 2019 ein Gesetz, mit dem die "Stiftung Forum Recht" ins Leben gerufen und um den Standort Leipzig erweitert wurde. In Karlsruhe residiert die Stiftung seither in einem ehemaligen Geschäft und angemieteten Büros unweit des BGH. Die Flächen bieten Platz für Ausstellungen und Veranstaltungen, werden in der Aufbauphase des Forums aber nur temporär genutzt. Das Seminar soll diese Situation nutzen und – unabhängig von der Stiftung – Ideen für Interventionen oder Veranstaltungen entwickeln und auch Recherchen dazu anstellen. Es kann auf diese Weise praktische Fragen der Gestaltung mit den inhaltlichen Fragen des Forums verbinden und z. B. Begriffe der Öffentlichkeit und Vermittlung oder auch unterschiedliche Demokratie- und Rechtsvorstellungen diskutieren. Neben diversen Besuchen und Außenterminen in der Stadt ist auch eine Exkursion nach Leipzig vorgesehen.
Im Rahmen des Umzugs der Exxeta AG an ihren neuen Unternehmensstandort wurde die HfG eingeladen, dort sechs Rückzugsräume künstlerisch zu gestalten. Dabei sollen die räumlichen Gegebenheiten, mögliche Nutzungsszenarien und vorhandenes Mobiliar ebenso berücksichtigt werden wie die Unternehmenskultur und -werte.

In Vor-Ort-Terminen werden wir die o.g. Aufgabenstellungen klären, uns in der HfG mit Aspekten wie Kunst am Bau, Kostenkalkulation und Vertragsgestaltung auseinandersetzen und belastbare Entwürfe der Gestaltungsideen entwickeln und präsentieren.

Im Rahmen eines Juryprozesses am Ende des Projektes wird eine endgültige Auswahl der Arbeiten getroffen, die dann gemeinsam mit der Exxeta AG realisiert werden.

Die Exxeta AG mit Sitz in Karlsruhe steht seit über 15 Jahren für die unbändige Leidenschaft für Neues, für den Digitalen Wandel durch technologische Lösungen.
Getreu dem Unternehmensmotto „hightech with a heartbeat“ steht bei Exxeta der Mensch im Mittelpunkt: So werden auch die Mitarbeitenden motiviert, ihre Fähigkeiten einzubringen und weiterzuentwickeln, z.B. im Rahmen des Womentorings oder im Austausch mit Studierenden beim jährlichen Impact Camp.
“No matter how desperately you fight against it, dust pervades everything. It accumulates in fuzzy balls or gathers in even layers, adapting to the contours of things and making the passage of time. In itself, it is also a gathering place, a random community of what has been and what is yet to be, a catalog of traces, an inventory of threats, and a set of promises… “ Michael Marder, “Dust” 2016
In this seminar we will look at different situations with images and codes where dust engages as a medium to understand the complex interrelation between the content of an image and its making, its meta-data and its technological and ecological being in the world. The seminare is practical as well as theoretical. We will dust together, and we will wait for dust to settle: on paper, in space, in our minds, and we will research and engage in dust experiments together: from field trips to laboratory visit to exhibition visits. At the end of the seminar the aim is to have delevoped a presentation, be it an image series, an installation, or/ and a research exhibition. This will be presented during the Rundgang.
Prof. Susanne Kriemann organises an excursion to Vienna 24th to 27th of April to see the exhibition “Into the Woods” at KunstHausWien and the first “Klima-Biennale”.
Since the 1970s, artists' books have become an independent art form. Over the decades, they have developed into a overwhelming movement led by artists and publishers alike. All formats and possibilities of publishing and print-on-demand can be witnessed. In the seminar, we look at iconic artists' books that have had a decisive influence on artistic photography, such as Ed Ruscha's "Every Building on the Sunset Strip" or Roni Horn's "Another Water". We then focus primarily on the flood of artists' books of the last decade. We then produce artist's books with photography ourselves and in a collaborative endeavor. Thus we become more and more interwoven with the fascinating world of sorting, forming, conceptualizing, assembling.

Preview: BookBauFestival 31.01. bis 02.02.2025
https://bookbaufestival.de/
A collaboration with Staatsarchiv Chemnitz, ASA-FF e.V. and the project Offener Prozess.

Over the duration of two semesters students are invited to research and work on the conception of a digital memorial site in commemoration of the victims and those affected by the NSU complex. The project is both located online and on site as digital artefacts within the city of Chemnitz, highlight the political entanglements supporting these atrocities. Re:member the future will be accompanied by an exhibition in Chemnitz, Kulturhauptstadt 2025.

From 2001 to 2010, the neo-Nazis of the NSU carried out a series of racially motivated murders and attacks with a broad support network from the far-right scene in Jena, Chemnitz and Zwickau.
The project and exhibition "Offener Prozess” is concerned with the NSU complex. It takes the East German reality, as a starting point to tell a story of the NSU complex that is based on the stories of migration and the continuities of right-wing and racist violence and resistance to it. With the approach of "living memory", it highlights marginalized perspectives and focuses on structural and institutional racism.
Aleida Assmann beschreibt in ihrem Buch „Formen des Vergessens“ (2016) wie Erinnerung durch Vergessen geformt wird. Der Film „Gorilla Bathes at Noon“ von Dušan Makavejev (1992) erzählt die Odyssee eines beim Abzug der russischen Truppen vergessenen Soldaten durch ein verändertes Berlin. Der Held des Films kümmert sich um ein kolossales Lenin Denkmal und kann doch nicht verhindern, das der zum Denkmal Gewordene geköpft und abtransportiert wird. Die fiktionale Filmhandlung fiel mit dem realen Abbau des Lenin Denkmals zusammen. „Entfernt die … kolonialen, rassistischen patriarchalen Körper aus Bronze und Stein und stellt Euch selbst auf die zurückbleibenden Sockel und performt“, fordert hingegen Paul B. Preciado in seinem Essay „Wenn Denkmäler stürzen“ (2020). Das Seminar Amnesie und Fiktion bietet zunächst eine Analyse des Platzes der Vereinten Nationen, an dem das Denkmal einst stand. Die abenteuerliche Geschichte des Denkmals dient als Beispiel für den Umgang mit ideologisierten Orten.
Im zweiten Schritt wird untersucht was der Platz heute braucht und wie eine alternative - fiktionale - Erzählung und das Entwerfen von zeitlichen Parallelitäten die entstandenen Leerstellen aufdecken, aktuelle Nutzungen überprüfen und neue (Un-)Ordnungen entstehen lassen kann. Technisch widmen wir uns dem Medium Augmented Reality und testen es auf die Möglichkeiten der Montage von Objekten, Performances, Musik und Text.
Im Rahmen einer Exkursion nach Berlin können wir weitere Recherchen vor Ort durchführen und auch dort produzieren. Die Kooperation mit dem ORC (Mustafa Emin Büyükcoskun und Zulfikar Filandra) ermöglicht eine Begegnung mit dem Produzenten sowie dem Hauptdarsteller von „Gorilla Bathes at Noon“ Joachim von Vietinghoff und Svetozar Cvetković. Möglicherweise entsteht u.a. ein Reenactment der Geschehnisse um den Dreh des Films vor über 30 Jahren.

1: Amnesie: Zur Geschichte des Ortes und Lenin Denkmal-Filme
2: „Gorilla Bathes at Noon“ - Screening
3: künstl. Strategien: Überschreiben von Denkmälern
4: Augmented Reality
5: Präsentation erster Entwürfe
6: Exkursion Berlin
7: Präsentation der Ergebnisse
Part I led by Nick Aikens.
The title of the two-part seminar is borrowed from a 2002 essay by curator and writer Sarat Maharaj, part of the Documenta 11 artistic team led by the late Okwui Enwezor. In the essay Maharaj describes ways in which artistic practice – and specifically the exhibition – offers up possibilities for both ‘other’ ways of knowing and ways of knowing ‘otherness’. The text signals a shift in understanding strategies for research practices where ideas and positions are not illustrated or represented but are transmitted through a complex interplay of the spatial, the sensorial and the discursive. For Maharaj this allows the possibility to work with and through multiple knowledge systems. The seminar, taking place over two semesters explore the ways in which exhibition making, research and thepolitical intersect and inform one another. What are the affordances and conditions of exhibition making that allow ideas to both be transmitted and come into being? And how are these addressed within current discourse and practice?
In the first semester we introduced a number of key discussions and debates at the intersection of the curatorial, exhibition making, knowledge production and the political. At the same time we looked to strategies for historical analysis, including theories of articulation, critical fabulation and potential history that might be generative in thinking through different models of research-exhibition practices. In the second semester we will further this work, looking to different approaches to spatial practice and with particular focus on close readings of exhibition projects.

Dates:
2 May: 16-18h30 (HfG)
29 May: 16-18h30 (online)
27 June: 16-18h30 (online)
15 July: 16h-18h30 (HfG)
Politthriller erzählen Geschichten, die vor dem Hintergrund politischer Machtkämpfe spielen. Sie fordern uns heraus, die Bedeutung politischen Handelns zu berücksichtigen und zu verstehen.

Im Sommersemester 2024 sehen und diskutieren wir Filme u.a. von Jean-Luc Godard („Le petit soldat“, 1963) , Alfred Hitchcock („Topas“, 1969), Claude Chabrol („Nada“, 1974; „L’ivresse du pouvoir“, 2006), Valie Export („Die Praxis der Liebe“, 1985), Oliver Stone („JFK – Tatort Dallas“ (1992) , Margarethe von Trotta („Zeit des Zorns“, 1993).
Weitere Politthriller werden wir zu Beginn des Semesters gemeinsam auswählen und ergänzen, mit einem Fokus auf dem nichtwestlichen Raum.

Die Filmreihe begleitet das Seminar „Übungen im politischen Denken mit Hannah Arendt, Melanie Klein und Simone Weil“. Sie ist eine offene Veranstaltung und kann auch unabhängig vom Seminar besucht werden.

Political thrillers tell stories set against the backdrop of political power struggles. They challenge us to consider and understand the significance of political action.

In the summer semester 2024, we will watch and discuss films by Jean-Luc Godard ("Le petit soldat", 1963), Alfred Hitchcock ("Topas", 1969), Claude Chabrol ("Nada", 1974; "L'ivresse du pouvoir", 2006), Valie Export ("The Practice of Love", 1985), Oliver Stone ("JFK", 1992) , Margarethe von Trotta ("Zeit des Zorns", 1993), among others.
We will select and add further political thrillers together at the beginning of the semester, with a focus on the non-Western world.

The film series accompanies the seminar "Exercises in Political Thinking with Hannah Arendt, Melanie Klein and Simone Weil". It is open to all and can be attended independently of the seminar.
Part II led by Nick Aikens and Céline Condorelli with Felix Mittelberger

The aim of Part #2 is for participants to develop ‘antennae to feel-think-know’– through practice. We will foreground processes and operations – different strategies and forms of inquiry, as well as their spatial and sensorial transmission. The seminar emphasises these processes as part of a rebalancing between how the epistemological and the operational are approached within discourse on exhibitions. We will be developing a collective research-exhibition project. Using the ZKM archive and collection as a departure point we will develop both individual and collective research.

In the second semester of this year seminar we will work towards realising the exhibition at ZKM under the working title ‘Antennae to feel-think-know. Encounters with the ZKM archive’. Moving between documents, videos and publications as well as confronting the gaps and limits of the archive, the exhibition will create a web of stories and questions that move in and out of the ZKM holdings. The semester will begin with a five day workshop where we will decide on the main components (the content and the scenography) of the exhibition. The workshop ill involve visiting the depot of ZKM, exhibition visits and seminar sessions. Throughout the semester students will both further develop their own individual research projects as well as working in groups to realise specific aspects of the exhibition - from building display devices to mediation tools.
The semester also includes a two day study trip to Paris where will vist the exhibition 'Past Disquiet' at Palais de Tokyo with exhibition curator Rasha Salti as well as aseries to visits to other shows. (21-23/05)

Further sessions and production meetings will take palace at HfG as well as online, working towards the opening of the exhibition on 19th July.

Tuesdays 2-6pm and Wednesdays 10-6pm, fortnightly
With workshop week: Monday 29/04 to Friday 03/05
And exhibition installation workshop from Monday 08/07 to Thursday 18/07
In dem Kurs „Models of Display“ werden die im Wintersemester 23/24 erlernten Grundlagen aus dem Modellbau, der Ausstellungsgeschichte und der Analyse von Ausstellungen miteinander verankert.
In Kombination aus Theorie und Praxis werden Case Studies erforscht, gewonnene Erkenntnisse erprobt und angewandt. Im Kontext der Ausstellung als kulturelle Praxis wird das Thema „Display“ in den Fokus gerückt. Als Schnittstelle zwischen Raum, Exponat und Publikum trägt es eine bestimmte und bestimmende Funktionen. Diesen gehen wir anhand verschiedener Display-Typologien, von der Wand, dem Boden über das Podest, dem Schaukasten hin zu Kabinetten und Dioramen, nach. Die theoretische Auseinandersetzung wird begleitet von praktischen Anwendungen im Raum der HfG, um Displaystrategien zu durchdringen und zu entwickeln. Eigene Entwürfe werden ausgehend von Analysen stetig weiterentwickelt. Deren Ausführung, mithilfe der Werkstätten, sind genauso zentral, wie die technische und räumliche Darstellung sowie inhaltliche Schlüssigkeit.
Ziel ist es, eigene Displays zu entwickeln, die im Rahmen des Rundgangs im Maßstab 1:1 gezeigt werden.
Nach Vorankündigung finden verpflichtend Ausstellungsbesuche statt. Außerdem werden begleitend Texte gelesen.
Was ist die Materialität des Digitalen, wie lässt sie sich konzeptuell fassen, ihre Bedeutung ermessen und wie künstlerisch in Erfahrung bringen? Indem wir theoretische Texte lesen, Werke der zeitgenössischen Kunst diskutieren und vor Ort gehen, sind wir in diesem Seminar den physischen Dimensionen digitaler Medien auf der Spur. Gegenstand sind Beziehungen digitaler Technologien zu Körpern und körperlichen Prozessen unterschiedlicher Art - seien dies gebaute Umwelten, Ökosysteme, Lebewesen, Gehirne oder geologische Formationen, etwa der Boden unter unserer Hochschule. Integraler Bestandteil des Seminarprogramms ist ein halbtägiges Symposium 'im Feld': Gemeinsam mit eingeladenen Wissenschaftler:innen und Künstler:innen erkunden wir am 20. Juni die Landschaft und Geologie des Oberrheingrabens und erörtern wissenschaftliche und künstlerische Zugänge zu den hier zu findenden Energiequellen und chemischen Elementen (z.B. Lithium), deren Bedeutung für digitale Technologien und für körperliche und psychische Zustände ihrer Nutzer:innen.
Dieses Seminar widmet sich Entwürfen zukünftiger Technologien in Literatur und Kunst. Science Fiction als experimentelle Geschichtsforschung (Lem), Experiment im Bereich der Imagination (LeGuin), Re-Konstruktion alternativer Zukünfte (Dery), Guide zu potentiellen Desastern (Butler) oder Verbindung von 'science fact', 'speculative fabulation' und 'speculative feminism' (Haraway)? In diesem Seminar befassen wir uns mit Theorien der Science Fiction und des Futurismus, lesen gemeinsam literarische Werke und diskutieren künstlerische Arbeiten. Hierbei sind wir zentralen Verfahren und Motiven auf der Spur und stellen uns z.B. diese Fragen: Wessen Zukunft haben wir vor uns? Was ist die Beziehung des jeweiligen Werks zu wissenschaftlichen und technologischen Entwicklungen seiner Entstehungszeit und unserer Gegenwart? Welche Erfahrungsqualitäten u. -bedingungen werden entworfen? Was lässt sich über mit spezifischen digitalen Technologien verknüpfte Visionen, Hoffnungen, Ängste und deren Geschichte lernen? In welcher Relation steht die jeweilige Arbeit zu Methoden der Extrapolation, der Modellierung, der Prognostik, des Szenarios, des Gedankenexperiments?
The Tactical Ultrasound is a conceptual experiment with transmedia convergences, studying the dialectics of resonance as a sonic spatial syntax. The seminar addresses the contradictions of finding formal expressions that could reproduce interdimensional renderings of the out-of-reach, and reverberate sonic poetic unfoldings of the concealed. An oracle touching time-space that is not yet. A quest to the properties of matter as a traversing entity, turning the intangible into dynamics of the sensorium. LMS3 seminar encourages students to produce individual or collective sonic immersive works manifesting poetic interpretations of Tactical Ultrasound —i.e., as a study of transversal-structuring, formless sensing, spectrality, fractal maneuvres, swarming narratives, strata-sonic vibrations, micro-turbulence, infra-pulse, sub-rhythm, breaks, noise, scratches, making voids to exit monolithic orders.

*LMS2, LMS1, and LMS3 seminars are designed to complement each other.
** LMS3 for students producing work during this seminar will be presented in dialogue with the Radio-Choreography: Acts of Transmission Exhibition.
*** Students are welcome to join the Radio (non-)Conference#2_ Athens excursion, 31 May - 3 June.
LMC2 addresses the Politics of Transformation focusing on the multidimensional struggle for eco-social recovery, and the exercise of subversive poetics as a living media technology disrupting the dominant command of technology as an instrument of “order” and “progress.” The course broadens the critique of the political economy of energy, discussing Abya Yala, Latin American, Global South, and Third World positions to the debates and historical trajectories contesting the commodification of nature. Introducing a few key contexts and praxes of eco-social interdependency to weave into a constellation of insurgent epistemes and sensemaking embodiments of a different reality, fugitive to the capitalist realism and in constant resistance to the homogenization processes of the so-called “civilizatory project.”

*LMS2, LMS1, and LMS3 seminars are designed to complement each other.
LMS1 addresses the Politics of Transformation in its aesthetic dimension, focusing on the frictions between extractivism and subjectivity as a form of ecopolitical conflict. The seminar broadens media perspectives into the study of environmental racism and climate colonialism linked to economic, epistemic, and ontological extractivism. Discussing combinatory manifestations of the violence—where notions of immersion and interaction have been central to colonialism, and integrated into neocolonial automation technologies of information and communication to operate as mediated extensions of political intervention and extractive fluidity. The growing incorporation of machine learning, multidimensional modeling, and cloud computing underlines the battle for subjectivity—or its seizure–as a tactical arena of contemporary warfare. It proposes to understand the theatricality and performativity of infrastructures as formal mechanisms modeling reality principles—within and beyond cultural aspects–by conditioning atmospheres to dictate material and territorial ordering and displacement.

*LMS1, LMS2, and LMS3 seminars are designed to complement each other.
“Visitors” takes as its focus the works of international students from HfG Karlsruhe. The seminar aims to shed light on the different geographical, political and economic backgrounds that come together in our institution. How do people from abroad who study at the HfG shape the place? How do international students contribute to and challenge the HfG?

We will work on preparing and realizing an exhibition based on diploma works of international students from previous generations. Two main resources for our work will be HfG's new archiving software (Madek) and its analogue exhibition interface (Portal) that the HfG Open Resource Center has been developing. We will look at the works contained in the archive database and carry out research on them. The exhibition will take place towards the end of the summer semester.

The seminar is open to students from all study courses interested in curating exhibitions and/or exhibition design.
„In einem gewissen Sinne ist die Welt immer eine Wüste und bedarf derjenigen, die Anfangende sind, um neu begonnen zu werden.“ (Hannah Arendt)
In diesem Seminar geht es um das Verstehen politischen Handelns. Das Ziel ist, Erfahrungen im politischen Denken zu sammeln, ohne Anleitung, was gedacht werden soll.
Gemeinsam lesen und diskutieren wir Werke und Essays der politischen Denkerin Hannah Arendt und der Sozialrevolutionärin, Philosophin und Mystikerin Simone Weil, von der Hannah Arendt bemerkte, dass vielleicht nur sie die Frage der Arbeit „ohne Vorurteile und Sentimentalität“ behandelt habe.
Wir erarbeiten uns politische Schlüsselbegriffe wie Macht und Gewalt, Freiheit und Gleichheit, Recht und Herrschaft, Pluralität und Identität, Vorurteil und Urteilen, Gerechtigkeit und Verantwortung, privater und öffentlicher Raum. Dabei analysieren wir Phänomene wie Konformismus und Eskapismus, Gehorsam und Unterwerfung, Krieg und Revolution, Antisemitismus, Kolonialismus, Imperialismus und Totalitarismus.
Hannah Arendt und Simone Weil teilten die Leidenschaft für eine neue Organisation der Gesellschaft und der Arbeit von unten, die wir näher betrachten werden (Räte versus Parteien).
Ein Seitenblick auf die Theorien der Psychoanalytikerin Melanie Klein wird uns über Strategien der psychischen und psychosozialen Konflikt- und Angstabwehr durch Abspaltung und Projektion aufklären und uns womöglich das Verständnis politischer Krisen erleichtern.

Die Filmreihe „Politthriller II“ ergänzt das Seminar „Macht und Gewalt“. Politthriller erzählen Geschichten, die vor dem Hintergrund politischer Machtkämpfe spielen. Sie fordern uns heraus, die Bedeutung politischen Handelns zu verstehen.
"My love language is cooking elaborate meals, screaming at everyone to get out of the kitchen, then loudly announcing the food was NOT MY BEST and waiting for compliments" - (at)LilyYily

Building on the experiences from the first semester, we will use the new skills to 𝓂𝒶𝓀𝑒 (objects, gestures, experiences) 𝒻𝑜𝓇 (friends and peers). Our practice of 𝓂𝒶𝓀𝒾𝓃𝑔 𝒻𝑜𝓇 will evolve from small exercices to a longer undertaking, accompagnying an individual project from original spark, to engaged research, to generous experimentation, to a meticulous final form.

Mandatory for first-year Communication Design students.
Das Forum Ludorum ist die Austauschplattform des HfG Gamelab für kulturelle und wissenschaftliche Diskurse sowie gestalterische Aspekte zum interaktiven Medium Computerspiel. Gemeinsam analysieren und diskutieren wir über aktuelle Entwicklungen, Debatten, alte und neue Games. Dabei stellen wir gesellschaftliche, historische, intermediale und popkulturelle Bezüge her.

Eigene Themenvorschläge und Vorstellungen von Projekten sind herzlichst willkommen. Das Forum wird vor allem, aber nicht ausschließlich Erstsemestern und Neuankömmlingen empfohlen. Das Forum steht in direkter Verbindung zum Global Game Jam. KIT-Studierende können im Rahmen des Seminars einen Leistungsschein Fachtheorie im Ergänzungsfach Medienkunst (6 ECTS) erwerben.

Die Anforderungen für den Erwerb eines Basis-Leistungsscheins bzw. einen Leistungsschein Fachtheroeie MK sind ein Referat und eine kleine bzw. große wissenschaftliche Ausarbeitung zu einem selbst gewählten Thema aus dem Bereich Games.
Das Seminar ist offen für Studierende aller Studiengänge.
Auch Personen ohne Leistungsscheinbedürfnisse sind herzlich eingeladen, mit uns zu diskutieren, ihre Projekte oder Themen vorzustellen.

Die Studierenden sind am Ende der Veranstaltung fähig, das Medium und seine Besonderheiten im medialen, kulturellen und künstlerischen Kontext einzuordnen. Sie entwickeln einen analytischen Blick auf Games und haben ein Verständnis für das Zusammenspiel der einzelnen Elemente (Audiovisuelle Darstellung, erzählerische Gestaltung, Gameplay und Game Design).

Sprachen: Deutsch, bei Bedarf kann auf Englisch gewechselt werden.
The artistic exploration of sound with its social and communicative function is closely linked to cultural and technological developments. This course provides an overview of artistic approaches, research methods and theories in sound art and music. Using historical and current examples of key compositions and notable sound works, creative and technological backgrounds are analyzed and critically discussed, accompanied by new listening practices. This way, sound-making tools and their artistic applications are introduced. Topics include spatial sound, computer music, sonification, algorithmic composition, music interaction, and soundscape. Field experiments and assignments will give students further hands-on experience while workshop discussions will allow to delve deeper into that subject. Participants will acquire a basic knowledge of the history of electronic music, sound synthesis and physical acoustics. Outside of the classroom, participants should expect to invest independent work, reading, listening, and developing their projects. The course encourages collaborations and synergies between students from all departments. A background in sound and music is recommended, but not required. The course will be held in English or German as requested by the participants. Please send an email to Lorenz Schwarz until April 21, 2024.
Sound is an indispensable aspect of many films, animations, videos, 3D/VR environments, and digital moving images. The course will present an overview of the different areas in audio production: recording, editing and mixing. Theoretical key concepts needed to work with sound in multi-media will be introduced. Categories of sound, dialogue, ambience, sound effects, Foley and music will be discussed and analyzed.

The course covers the functionality and the use of microphones and recording devices. Different microphone characteristics, arrangements and placement strategies related to acoustic considerations will be compared and studied. Practical exercises include dynamic booming, field recording, room miking as well as sound dubbing and Foley techniques. Technical tools and accessories such as windshields, shock mounts, windscreens, and pop filters will be examined. Finally, Digital Audio Workstations (DAWs), multitrack mixing, equalization, mix automation, and audio plug-ins will be presented.
Das BWS-Plus Projekt Interkulturelle Medien- und Musikpraxis ist zu Gast bei !Kwat tuu in Yzerfontein/Darling. Life-performance und Streaming
In dem Workshop beschäftigen wir uns mit ortsspezifischen “Videowalks”.
Mit diesem Format experimentierten bereits Künstler:innen wie Janet Cardiff, um filmische Überschreibungen und lokal eingebettete Narrationen an konkreten Orten in Stadträumen zu inszenieren. Filmaufnahmen komplementieren ihre jeweiligen Drehorte und erweitern deren Realität um eine dokumentarische oder fiktionale Ebene, wobei unter anderem Konzepte des “Unheimlichen” und der “Hauntology” fruchtbar gemacht werden. In dem Workshop recherchieren wir in einem Prozess des Location Scouting in der Umgebung der Hochschule und suchen in der Stadt nach Motiven, Perspektiven und Erzählungen des Bekannten und Unbekannten, das sich mit Hilfe dieser Technik eröffnen lässt. In eigener Autorschaft entstehen individuelle Ansätze für solche ortsspezifischen filmischen Experimente, die ihre Betrachter:innen in einem performativen Akt wieder an die Orte des Geschehens führen.
The Basic course Know Your Tools explores strategies and principles of design and examines how graphic design can be applied in the context of exhibition design and scenography. The course will focus on the application of computer programs to translate design concepts into tangible forms, including text layout and image treatment for various purposes such as communication, invitations, room plans, wall texts, mock-ups and handouts. Participants will become familiar with the diverse machinery and workshops available at HfG, gaining practical skills in producing simple yet appealing printed matters. The curriculum encourages participants to pursue their own project initiatives, culminating in a final project presentation. Many sessions will be started by a warm-up exercise proposed by an invited guest designer, teacher or dancer.



Der Grundlagen Kurs Know Your Tools erforscht Strategien und Prinzipien des Designs und untersucht, wie Grafikdesign im Kontext von Ausstellungsdesign und Szenografie angewendet werden kann. Der Kurs wird sich auf die Anwendung von Computerprogrammen konzentrieren, um Designkonzepte in greifbare Formen umzusetzen, einschließlich Textlayout und Bildbearbeitung für verschiedene Zwecke wie Kommunikation, Einladungen, Raumpläne, Wandtexte, Mock-Ups und Handouts. Die Teilnehmer werden mit den einigen Maschinen und Werkstätten vertraut gemacht, die an der HfG verfügbar sind, und praktische Fähigkeiten im Herstellen einfacher, aber ansprechender Drucksachen erlangen. Der Lehrplan ermutigt die Teilnehmer, ihre eigenen Projektinitiativen zu verfolgen, die in einer abschließenden Projektpräsentation vorgestellt werden. Viele Sitzungen werden mit einer Aufwärmübung begonnen, die von eingeladenen Gastdesigner*innen, Lehrer*innen oder Tänzer*innen vorgeschlagen werden.
In der von mir konzipierten Lehrveranstaltung erkunden wir Formen und Möglichkeiten Zeichnung anzufertigen und reflektieren bereits existierende Ansätze. Zeichnen ist ein Mittel, um facettenreich bildnerische Methoden anzuwenden, aber auch um das Sehen zu lernen, die eigene Wahrnehmung zu sensibilisieren und verschiedene Darstellungstechniken wie Perspektive, Fluchtpunkt, Licht/Schatten und Blickachsen zu erlernen. Wir näheren uns dem Thema des Zeichnens auch durch Erkundungen unserer Um- und Lebenswelt an. Eine Zeichnung kann sich dabei eigenständig entwickeln, aber auch durch die Kombination mit anderen Medien in Dialog und Symbiose treten. Das Zeichnen beginnt in unserem Kopf, breitet sich dann auf unsere Hände aus und schließlich im ganzen Raum. In diesem Semester ist eine dreitägige Exkursion geplant. Wir fahren ins Outback, wo wir für eine Weile den Alltag vergessen und intensive Momente des Zeichnens genießen können.
Das Programm wird zu Beginn des Semesters vorgestellt.
Der Kurs ist offen für Studierende aller Fachgruppen und verpflichtend für die StudienanfängerInnen der Fachbereiche Produktdesign und Szenografie.
Hydromedia: Seeing With Water invites 12 artists via open calls to create experimental artistic methods based on co-authorship with nature to promote citizen engagement in ecological water management strategies. The project runs from Jan 2023 through Dec 2024, with three institutions each hosting four artists for a one-month residency. Hydromedia focuses on the crucial role that water plays in our lives and aims to address environmental challenges while highlighting its life-giving qualities.

HYDROMEDIA is an artistic research program on innovative strategies for ecological water management. The participants are invited to develop lo-tech artistic tools to engage a large audience with the local problems of the climate crisis.

The project was hosted by Royal Academy of Fine Arts Antwerp (BE) in April 2023, by HKU in Utrecht (NL) in October 2023 and will locate itself to HfG Karlsruhe in April 2024. A symposium and exhibition is co-organised with Städtische Galerie in July 2024. The project is co-funded by Creative Europe Programme of the European Union.
Hydromedia is an artistic research program dedicated to researching innovative approaches in the field of ecological water management. The aim is to promote awareness and understanding of local water problems on a wider scale.
The Open Salon, a dynamic one-day event, serves as a nexus for professionals and enthusiasts alike, drawing together experts from scientific, artistic, and interdisciplinary fields. Through vibrant dialogue and shared insights, the Open Salon aspires to ignite collaborative efforts towards sustainable water solutions.

10:00 Introduction by Susanne Kriemann & Vanessa Bosch
Viewing of slide show by Margarethe Raspé as she bathes in polluted water…

10:15 Esther Ruelfs / Mining Photography
11:00 Nico Goldscheider / Groundwater & Springs
11:45 Christoph Gentil / Surface- and Wastewaters Management

12:30 Lunch break

13.30 Vanessa Bosch / Hydrofeminism / Screening wet together (2021 ‧ 23:51 min)
14:00 Helin Ulas / Water & Memories
14:30 Mareike Röder / Floodplain Forests
15:15 Su Yu Hsin / Wet Mechanics of Seeing / Screening Tidal Variations (2021 ‧ 14:40 min)

16.00 Coffee break

16:15 Thomas Frank / Drinking water & Microplastics
16:50 Alexandra Navratil / Photographic Study / Screening Silbersee (2015 ‧ 11 min)
17:30 Liquid Dialogues (open conversations)

18:00 Bar & Buffet by culinary artist Sarai Rose Duke


Please find more details on hydromedia.org
“Cinema teaches me to tirelessly touch with my gaze the distance from me at which the other one begins.” Serge Daney, Kapo’s travelling, in Trafic No. 4, P.O.L. Editions, 1992.

This lecture will introduce a seminal piece of film criticism written by Serge Daney titled “Kapo’s Travelling” which interweaves personal reflection and a sharp analysis of Cinema and History.
This famous text has structured the critical field of film in post war Europe and has left an indelible mark in any cinephile’s mind. Although the subject of this text is grave and awfully serious (the starting point is a fictional scene in a concentration camp) Daney manages with elegance and brilliant intelligence to formalise an essential tool - a thought articulation, that builds an awareness for any filmmaker who understand that the act of looking and picturing is a mode of political engagement. “Kapo’s travelling became my portable dogma, the axiom that could not be discussed, the limit of all debate.” he famously said.
During this lecture we will read this text, talk about the critics it received and see parts of a three-hour interview with Serge Daney called Itinéraire d’un Cinéfils (the Itinerary of a Son of Films) subtitled in English (this is very rare find !).
Das Thema „Versicherung und Absicherung“ für Designer*innen, Künstler*innen und Publizist*innen wird immer komplexer. Und gerade von Selbständigen und Freiberufler*innen wird erwartet, sich nach ihrem Studium um ihre Angelegenheiten selbst zu kümmern. Dabei durchschaut kaum noch jemand das Geflecht von Künstlersozialkasse und Rentenkasse. Wann und wie komme ich in die KSK, und was bringt sie mir? Welchen Versicherungsschutz brauche ich wirklich, und auf was kann ich verzichten? Wie kann ich mir einen sinnvollen Finanzplan erstellen? Wie sieht meine Absicherung im Alter aus? Wie kann ich mich auch als Kreativer gegen Berufsunfähigkeit versichern?

In diesem Vortrag wird aufgezeigt, welche Möglichkeiten der privaten Absicherung wirklich notwendig sind, und wie sie mit Leistungen der staatlichen Einrichtungen kombiniert werden können.

Zum Referenten: Jan Käpernick, Schauspieler und Versicherungsfachmann (IHK) ist als Gastdozent an über 120 Hoch- und berufsbildenden Schulen im gesamten Bundesgebiet tätig.
Bereits als Studierende machen viele von uns erste Erfahrungen mit dem deutschen Steuersystem, als Berufsanfänger*in oder Selbständige kommen komplexere Fragestellungen hinzu.

Das Angebot gibt einen Überblick über die wichtigsten Steuerarten und Steuerpflichten, die Steuererklärung und die dahinterstehenden Prozesse.
Eigene Fragestellungen können zur Diskussion in der Gruppe mitgebracht werden.

Monika Reiter ist Diplom-Betriebswirtin (BA) und Steuerberaterin bei BBP Bosch, Bertel & Co GmbH in Waldbronn.
Die Zoom-Ringvorlesung „Critical Ecologies“ von mehreren Szenografie- und Bühnenbildklassen aus Deutschland, Österreich und der Schweiz wird fortgesetzt. Speziell am ersten Termin (24.04.) soll es um die Möglichkeiten zur Vernetzung der Studierenden gehen. Die weiteren drei Termine sind lecture-workshops gewidmet. Mit Gäst:innen lernen wir künstlerische Arbeitsweisen mit ökologisch sinnvollen Materialien kennen und versuchen sie (per Zoom) auch nachzuvollziehen. Eine Art Zoom Workshop, in dem wir alle gemeinsam etwas erproben. Nähere Informationen folgen.
In diesem Workshop werden die Teilnehmenden die Potenziale von Licht zur Gestaltung visueller Erzählungen erkunden. Ziel ist es, die Möglichkeiten von Lichtdesign zu erforschen, Geschichten zu erzählen und die (abstrakte) Vorstellungskraft derjenigen, die den Raum betreten und damit wahrnehmen, zu befördern. Anhand praktischer Übungen, die in einem kollektiven Prozess erarbeitet werden, werden die Grundprinzipien der Beleuchtung und der Optik erläutert, um den Teilnehmenden kreative Werkzeuge an die Hand zu geben, mit denen sie einen Raum nicht nur umgestalten, sondern ihn durch Licht als Medium erschaffen können. Innerhalb der drei Tage üben sich die Teilnehmenden im poetischen und technischen Vokabular aus dem Bereich der Beleuchtung. Projektbasiert wird die Gruppe ihre eigenen visuellen Geschichten kreieren und dabei die nötigen Werkzeuge kennenlernen. Der Workshop führt in die einzelnen Schritte des Gestaltens von Licht methodisch zur Entwicklung von Projekten mit künstlerischem Konzept, von der Erstellung eines Plans bis zur ausführenden Sprache ein – mit dem Ziel abstrakte Ideen in konkrete Lichtsituationen zu überführen.
ABK × HfG: On Guesting and Hosting.

It’s a late spring afternoon. On a sunny meadow somewhere between Stuttgart and Karlsruhe things are starting to come together. Tools that seem to be made for eating and drinking find their place on a large surface that is surrounded by objects that look like you can sit on them. Decorations are mounted, flowers are arranged and food is being laid out. It seems like some sort of table setting is being prepared. People dressed in odd costumes run around, adding finishing touches. More people arrive, they wander around the large surface and explore the festive landscape that was created for them, eager to get to know the objects and their creators.

What happens when students of the two most prominent design schools in Germany meet? What exchanges will take place and how can these exchanges be designed?

Karlsruhe and Stuttgart are just one hour by train away. Both cities are in the middle of the industrial heartland of Germany, surrounded by the Schwarzwald and crisscrossed by rivers. And both cities boast a prominent design school. So how is it possible that these two schools are virtually unaware of each other? Why is it that (design) schools in general operate in such insular ways? What benefits emerge from forming closer ties, from getting to know each others’ inspirations, dreams and skills?

This seminar is an exploration into creating platforms for exchange. Two short workshops, one held at ABK Stuttgart and lead by Slivio Rebholz and one lead by Chris Kabel at HfG, will lead to two events. One in Karlsruhe where the students of the HfG host those of the ABK and one event in Stuttgart, where the students of ABK host those of HfG. In order to prepare these events a kick-off meeting is planned on neutral grounds, somewhere between Stuttgart and Karlsruhe, where the students meet each other for the first time.
1. On the 1st of May, at 10:00, meet at HfG room 103;
2. Research and discuss with the group the subject of "immaterial labor";
3. Choose a form of immaterial labor you feel affected by, you practice, or concerns you;
4. Try to identify the owner of the production means of this immaterial labor;
5. Use your immaterial workforce to write a slogan towards better immaterial working conditions;
6. Paint the spell on a surface (banner, cardboard, t-shirt, skin, etc.); find a form to voice it (compose a song, a poem, create a choir, etc.) or use an immaterial support you find fit;
7. Join the worker's demonstration in the city of Karlsruhe;
8. Observe the material result of your immaterial labor.
"Let us assume that as an observer at a reception I am looking at Mr. Y as he tells three people all about his recent holiday in Scotland with his wife. By carefully watching his face, I notice he never takes his eyes off Mrs. X’s legs. Now, I move over to Mrs. X, who is talking about her children’s problems at school, but I notice that she keeps staring at Miss Z., her cold look taking in every detail of the younger woman’s elegant appearance. Obviously, the substance of that scene is not in the dialogue, which is strictly conventional, but in what these people are thinking about. Merely by watching them I have found out that Mr. Y is physically attracted to Mrs. X and that Mrs. X is jealous of Miss Z.”
Hitchcock/Truffault, François Truffault, 1983

This workshop is for cinema-loving designers who wonder what they can learn from films, for minds in which the analytic and synthetic are simultaneously at work, and for those who intuit that it is form that creates content (and perhaps also that fact is fiction).

Over the course of 4 days, we will watch and discuss a wide range of film material, reflect on cinematic techniques and rules (storytelling, dramatisation, camera work, editing, etc.), test the subtle tools of tone, rhythm, friction, suspense and polyphony through a design output as a way of integrating them into one’s own design practice.

“As you have seen on the screen, scissors is the best way.”
Alfred Hitchcock, gala homage in Lincoln Center, 1974
To bookmark is to save one’s place, an aide-memoire laid down in commitment to return to that spot, to pick up a thread left unfurled, unfinished. To table is, as poet Lisa Robertson writes, ‘to throw down or play a card; to submit for discussion or consideration; to have a meal or converse.’ And to triangulate, the third part of this week-long workshop, is to situate a node – ourselves – through external relationships, to do so in dialogue with a wider network. The protagonist in Holly Pester's The Lodgers sees triangulation as ‘a kind of localisation [...] the triangle is the end point, the goal of being’.

Throughout the week we will capture our points of influence – first as individuals and then as a group triangulated – so as to reveal the things we bring to bear on our work and what the work brings to bear on us.
In a four-day workshop, we investigate sight specific smells. Revealed through different mapping techniques (illustration, writing, collages, etc.), we make sense of this invisible presence in a collective 'accord'. Together, we smell, taste, and discuss the potential of collected single 'notes' and their significance in shaping identity.

Lets pick the German word ‘Stimmungsvoll’ as a guiding thought for this workshop and the sensual totality that is required to describe a good atmosphere, encompassing both time and space.

The goal of this workshop is to become familiar with active smelling and to discover metaphors (a language) for a collective discourse.

Mettler is a scent designer for the house In’n’out Fragrances and is part of the scent agency Airsolutions with a background in visual communication.
The workshop will explore the concept of latent utopias through the orchestration of human–computer interaction and co-creation. Artificial intelligence is centered in the workshop process, for the shared notion of 'neural networks' that exists between humans and machine learning models, the augmentation AI provides for human creativity and ingenuity, the constant utopian hope humans place in a technologically advanced future (currently invested in AI) and the shared cognitive functioning of both human and artificial intelligence networks as “probability engines”.
The workshop will be grounded with a reflective discourse on the concept of utopia, what it connotes, the questions raised by different artistic representations of utopia, and how different speculative utopian scenarios being woven around the ascendance of artificial intelligence-driven solutions influence those representations. The import of the use of generative AI art within this discourse will also be reviewed, as will the idea of 'latent space' as a fuzzy probabilistic space from which humans and machines now jointly fish for logic and inspiration.
Slime trails of snails shimmering in the sun.
Wrinkles from laughing or doubting.
Algae on stones as witnesses of higher water levels.
The fading blue on the shoulders of a worker’s boiler suit.
A deep hole in a wall speaking of deep aggressions.
Tasteless chewing gum speckled on concrete like the milky way.
Blurry photos captured through fatty finger prints on a camera lens.
A trampled shortcut through the grass.
Abrasion of a wooden doorstopper stopping it from stopping doors.
Shiny brass noses polished by countless touches.
Skid marks on the supermarket’s parking lot.

It was here just minutes ago. It formed over thousands of years.

We will drift through our surrounding to search for traces, follow them, analyze their details, trace their outlines, let them speak of an absence of a presence. We will fill our cabinets of curiosities with findings that we later imitate, imprint, interpret, translate and transform into a trace of our own.
Hier stellen wir Euch den gesamten Modellbaubereich mit seinen Möglichkeiten und Regularien vor.
Es erfolgt eine Unterweisung in die Werkstattordnung und organisatorische Abläufe, sowie eine Führung durch sämtliche Räume mit der Vorstellung der Maschinen und Geräte.

Kein Scheinerwerb möglich.

Diese Einführung berechtigt Euch, in den Räumlichkeiten der Modellbauwerkstatt zu arbeiten und die vorhandenen Handwerkzeuge zu nutzen.
Die Teilnahme ist Voraussetzung für die weiteren angebotenen Einführungskurse (Part II und III)

Bitte meldet Euch per E-Mail an unter Betreff "Part I".
Max. Anzahl Teilnehmende: 15 Personen.
Im Kurs erhaltet Ihr eine Unterweisung in die Unfallverhütungsvorschriften und Betriebsanweisungen mit praktischen Übungen an Ständerbohrmaschinen, Bandsägen und Schleifmaschinen.
Im Vordergrund steht das sichere und fachgerechte Arbeiten an Maschinen und die richtige Wahl von Werkzeugen und Messen mit dem Messschieber.

Auf Wunsch könnt Ihr im Anschluss ein kleines vorgegebenes Werkstück fertigen, um das Erlernte zu vertiefen. Weiterer Zeitbedarf ca. 3 Stunden.

KEIN SOFORTIGER SCHEINERWERB MÖGLICH

Dieser Kurs berechtigt Euch in der Modellbauwerkstatt an den unterwiesenen Maschinen zu arbeiten und richtet sich an alle Semester und an alle Fachbereiche.
Diese Einführung ist sinnvoll, sobald Ihr im kommenden Semester in der Werkstatt arbeiten wollt.

Bitte meldet Euch per E-Mail an unter Betreff "Part II" und gebt auch an, ob Ihr im Anschluss ein Werkstück bauen wollt, das wäre dann am 02.05. nachmittags oder am 03.05. vormittags möglich.

Es ist ausreichend an einem der Termine teilzunehmen!!!

Mindestanzahl Teilnehmende: 3 Personen
Max. Anzahl Teilnehmende: 6 Personen
The workshop "Compositing Real and Virtual Realities with Unreal Engine."  focuses on the practical aspects of merging virtual renderings with real-life footage using Unreal Engine. We'll cover everything from the basics of Unreal Engine and blending techniques to post-production workflows. Perfect for filmmakers, visual effects artists, and anyone interested in the intersection of virtual and real cinematography.

Learning outcomes:

1. Understand basic Unreal Engine use in cinematography.
2. Learn virtual production techniques.
3. Practice blending virtual and real footage.
4. Explore lighting and texture matching.
5. Create interactive scenes.
6. Understand post-production integration with Unreal Engine.

The dates are planned for the end of May or the beginning of June. The final dates will be communicated.
1. The Ball: The ball shall be spherical. It shall be made of celluloid, pale in colour; it shall not be less than 4 1/2ins nor more than 4 3/4ins in circumference; it shall not be less
than 2/27ozs nor more than 2/25ozs in weight.
2. The Table: The table shall be in surface rectangular, 9ft in length, 5ft in width.
3. The Racket: The racket may be any material, size, shape or weight.
4. The Rules: The rules may be bended.
5. The Players: Your Opponent may be your friend, your superior, your pet, your collaborator, your client, your advocate, your manager, your ally, your nemesis. You shall serve each other, work with each other, question, critisize, elevate, fight each other, return to each other.

In this workshop we will explore alternative ways of work and collaboration through table tennis. For the official HfG Ping Pong Tournament we will build tables, rackets, make nets, formulate our own rules and questions, design and illustrate those, design scenography and sound, as well as manage, plan and moderate the event. Bring a towel with you!
3D Workshop Karlsruhe
Einführung in die grundlegenden Techniken zum digitalen 3D Arbeiten (Modeling, Sculpting, Shading, Lighting, Animating und Rendering) beim Erarbeiten einer digitalen Skulptur als Voraussetzung für das Arbeiten mit Augmented und Mixed Reality.
Montag 13. Mai, 15.00-18.00 Uhr

Vorstellung des Seminars:
- Gegenseitiges Kennenlernen
- Ausblick und Einführung zum Arbeiten mit Augmented Reality und Mixed Reality, Vorstellung vom Arbeits- und Ausstellungsbeispielen (ar-open, Tiergarten, Spiegelarche, Kiel, Bagdad)
- Abklärung technischer Vorraussetzungen zum Arbeitsstart

Dienstag bis Freitag 10.00 bis 18.00 Uhr

Einführung in die grundlegenden Techniken zum digitalen 3D Arbeiten (Modeling, Sculpting, Shading, Lighting, Animating und Rendering) beim Erarbeiten einer digitalen Skulptur.
Kursvoraussetzungen, Laptop oder Notebook mit einer funktionierenden, aktuellen Version von Blender 4.0 (Freeware), Mouse mit Scroll Wheel.
---

3D Workshop Karlsruhe: Introduction to the basic techniques of digital 3D work (Modeling, Sculpting, Shading, Lighting, animation, and Rendering) in creating a digital sculpture as a prerequisite for working with Augmented and Mixed Reality.
Monday, May 13, 3:00-6:00 PM

Seminar Introduction:
- Getting to know each other
- Outlook and introduction to working with Augmented Reality and Mixed Reality, presentation of work and exhibition examples (ar-open, Tiergarten, Spiegelarche, Kiel, Baghdad)
- Clarification of technical requirements for starting work

Tuesday to Friday 10:00 AM to 6:00 PM
- Introduction to the basic techniques of digital 3D work (Modeling, Sculpting, Shading, Lighting, Animating, and Rendering) in creating a digital sculpture.

Course Requirements: Laptop or notebook with a working, current version of Blender 4.0 (Freeware), mouse with scroll wheel.
In einem kompakten Wochenworkshop wollen wir uns mit den an der Hochschule vorhandenen modularen Wolfsburger Wänden beschäftigen. Dabei handelt es sich um ein flexibles System aus Rahmenkonstruktionen mit möglichen Wandbeplankungen aus dem Ausstellungsbau, das vor Jahrzehnten vom Kunstmuseum Wolfsburg entwickelt wurde. Modulare Systeme sind im Bühnen- und Austellungsbau schon lange etablierte Gestaltungselemente. Neben dem großen ökologischen und ökonomischen Vorteil ihrer Wiederverwendbarkeit, werden modulare Systeme allerdings durch ihre Vorgefertigtheit oftmals vorschnell als gestalterisch einschränkend empfunden.
Wir wollen gemeinsam entdecken, welche unkonventionellen und spielerischen Entwürfe entstehen können, wenn wir uns intensiv mit den künstlerischen Möglichkeiten dieser Module und ihrer Komponenten beschäftigen. Dabei werden wir die Elemente als freies Material begreifen und daraus installative Strukturen entwickeln, die funktional sein können aber in erster Linie skulptural gedacht sein sollen. In einer abschließtenden Reflexion werden wir besprechen, welche Erwartungen sich eingelöst haben und was uns überrascht hat.
Hexen üben ist eine Reihe von mal längeren mal kürzeren Workshop-Einheiten, die das mehrtägige Arbeits-Retreat im Black Forest Institute of Art, das im Rahmen des Relational Aesthetics-Seminar stattfinden wird, begleitet. Grundlage verschiedener (meist) kollektiver Übungen bilden dabei Reenactments wie auch Updates von Doris Stauffer’s „Hexenkursen“. Wir erproben das Hexen als queerfeministische Praxis und aktivistisches Tool: so drehen sich die Workshops auch um das Befragen, Umkehren und Überschreiben von Räumen und ihrer Herstellungsweisen und der Suche nach einer eigenen Sprache. Für diese Suchbewegung nutzen wir unsere Körper und unsere unmittelbare Umgebung: die Pflanzen, das Licht, die Geräusche und Gerüche oder auch Temperaturen. Wir lernen von historischen, ortsbezogenen und zeitgenössischen Witches, aktivieren die dortige Waldbühne, und be-fragen uns stetig auch selbst – als Individuen aber auch in der/als Gruppe.
Workshops concentrates on realization of artistic ideas, questions of image design, and technical issues. We are going to examine and discuss the methods and approach of portraiture. Questions about the practical approach, visual language, camera technique, lightning are to be discussed and demonstrated in this basic seminar.
This workshop invites participants to delve into the intersection of queer avatars, storytelling, and the paranormal within the digital landscape. We will examine the role of ghosts and digital deaths within games and gaming cultures with the focus of the technical needs for queer ghost haunting.
Der Workshop „Klang, Praxis, Naturecultures“ ist dem Hören, Aufnehmen und Bearbeiten von Klängen der Landschaften gewidmet und öffnet Räume zum Arbeiten entlang von Begriffen und Dispositiven wie ‚Kultur und ‚Natur‘. Aufnahmegeräte und Audioaufnahmen bieten uns die Möglichkeit, Field Recording als situierte Praxis in und mit Landschaften zu entwickeln. Ausgehend von Haraways Konzept der Naturecultures lesen und diskutieren wir Texte zu Klangpraxis, Soundscapes, ‚Ökologischer‘ Soundart oder dem Bild des Vogels als ‚petit bourgeois‘ (Vinciane Despret).

Der Workshop findet im Kontext des Relational Aesthetics Seminars statt. Gemeinsam mit dem Workshop „Hexen üben“ werden wir uns dafür im Rahmen einer viertägigen Exkursion zum Black Forest Institute of Art in den Schwarzwald zurückziehen.
Session 1, lecture
Sustainability, from philosophy to absolute sustainability
Historically we start in 1713 with Hans Carl von Carlowitz and among other things we will talk about: the Club of Rome, the UN Stockholm Conference, the Brundtland report, planetary boundaries. We'll end up talking about Absolute Sustainability and how it will influence our future life.
The lecture is open for all students whoever is interested.

Session 2
Industrial manufacturing
How are the products we buy on a daily basis manufactured, with focusing on mass production.

Session 3
Material properties and testing
How can the mechanical properties of materials be described and how can they be tested.
Die freie Enzyklopädie Wikipedia ist seit 2001 online und als non-profit-Projekt auf Menschen angewiesen, die unentgeltlich mitwirken. Etwa ein Drittel der Artikel in der deutschen Wikipedia sind Biografien. Davon sind 82,2% Männern, 17,7 % Frauen und nur sehr wenige nichtbinären Personen oder Personen unbekannten Geschlechts gewidmet. Darum arbeiten Menschen unter Überschriften wie "Art+Feminism" oder "Frauen-in-rot" zusammen, um in sogenannten Edit-a-thons Frauen, nichtbinären Personen und Personen mit unbekanntem Geschlecht in der Wikipedia sichtbarer zu machen.

In Kooperation mit der Badischen Landesbibliothek Karlsruhe veranstaltet die HfG im Sommersemester eine Schreibwerkstatt zum Arbeiten in der Wikipedia. An vier Terminen wollen wir bestehende Artikel erweitern, bearbeiten und neue Biografien anlegen. Nach einer Einführung, wie das Schreiben in Wikipedia funktioniert, arbeiten wir einzeln oder in Gruppen an konkreten Artikeln. Hierfür wird besprochen, wie eine wissenschaftliche Recherche aussieht und was eine korrekte Quellenangabe braucht. Als Ausgangspunkt verwenden wir Artikel zu Professor*innen der HfG und Frauen, zu denen die Badische Landesbibliothek Bestände hat, die bislang nur knapp oder nicht vorhanden sind.

Die Veranstaltung will regelmäßiges, wissenschaftliches Schreiben fördern und zugleich zu einer gerechteren Verteilung von Biografien zu binären sowie nichtbinären Personen beitragen. Sie bietet außerdem Raum für Reflexionen über die Repräsentation von Menschen in ihren unterschiedlichen Geschlechtern in der öffentlichen und digitalen Welt.

Weiterführende Links:
https://de.wikipedia.org/wiki/Geschlechterverteilung_in_der_Wikipedia
https://de.wikipedia.org/wiki/Wikipedia:WikiProjekt_Frauen/Edit-a-thons
Die Vorlesung bietet eine Übersicht über die zentralen Methoden und Begriffe der Kunstwissenschaft und der historisch-theoretischen Arbeit im weiteren Sinne. In jeder Sitzung wird ein ausgewähltes Motiv in den Mittelpunkt gestellt, um Herangehensweisen an so unterschiedliche Bereiche wie z. B. Architektur, Fotografie, Malerei oder Performancekunst zu diskutieren. Je nach Gruppengröße und Interesse können ergänzende Besuche in den Nachbarhäusern ZKM, Städtische Galerie und Staatliche Kunsthalle eingerichtet werden, wegen der Öffnungszeiten abweichend am Donnerstagvormittag.