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Published: 03 July 2026

summaery2026 at the Faculty of Art and Design: Prompting Without an Input Field

What is prompt when there's no input field in sight? For »summaery2026«, students at the Faculty of Art and Design are showing how porcelain reacts to forms and how digital spaces respond to hands, bodies, and movement. We visited two projects that could not be more different.

View through an open red door into the plaster and mould-making workshop. Several students work at benches with plaster moulds and models.
Isa Schreiber’s course focuses entirely on porcelain as a material.

Anyone is immediately associates the word »prompt« with an input field will discover a whole new dimension of prompting in the specialist course taught by porcelain designer Isa Schreiber. In this course, input begins with an idea, a gesture, a form. And the material responds: Plaster and porcelain reveal what’s possible, where something tips over, cracks, shrinks, or suddenly turns out perfectly. »The first prompt in the course is definitely my input, my assignment, and my expertise«, explains Schreiber. »As soon as the students start working with their hands, they begin a constant game of ping-pong with the material. Plaster and porcelain speak to you and clearly show you what’s possible and what the limits are. The limits are our creative space, much like in the digital world.« 

Students are meant to learn how to design in a way that is appropriate for the material. They are continually feeding ideas and information into the process through mould-making. Porcelain responds with its quality after shaping and firing. An interplay that doesn’t succeed without mistakes. 
Charlotte, a Produktdesign (Product Design) student, didn’t make any »mistakes«, but she did have to solve a problem:  Her pitcher design is made up of three open spaces, which she merged into a three-dimensional form using the 3D programme »Rhino«. The vessel places high demands on the plaster mould required for casting. »I like to make things more complicated than they need to be«, she says of her approach with a smile. The issue? The pitcher cannot be removed from a single-piece mould. 

So Charlotte decided to print out a prototype made out of PLA, an organically-based plastic made of renewable resources. With this »dummy«, she worked with workshop employee Robert Elias Wachholz to create a five-part plaster mould that allows the pitcher to be removed. Her next step was to print a negative mould for the future plaster mould, making it so that each individual part could be cast separately. Because PLA can be softened by heat, the plaster mould could late be removed fro the printed form. 

When Robert Elias Wachholz takes the first version of the pitcher, which is still over 200°C, out of the kiln Charlotte is breathes a sigh of relief. The pitcher is nearly perfect. Only a small dent is visible: an imprint of Charlotte’s finger. Her own accidental »prompt«, left on the surface. 

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A white 3D-printed vessel stands on a workbench. The upper image shows the side view, the lower image the triangular opening seen from above.
A tricky shape: Charlotte started by printing a prototype from PLA...
A white 3D-printed vessel stands on a workbench. The upper image shows the side view, the lower image the triangular opening seen from above.
A tricky shape: Charlotte started by printing a prototype from PLA...
Charlotte and workshop manager Robert Elias Wachholz discuss a project among shelves filled with models and moulds in the plaster and mould-making workshop.
... which she then discussed with workshop staff member Robert Elias Wachholz.
Charlotte and workshop manager Robert Elias Wachholz discuss a project among shelves filled with models and moulds in the plaster and mould-making workshop.
... which she then discussed with workshop staff member Robert Elias Wachholz.
A 3D-printed model of a two-part casting mould stands on a workbench. The upper image shows the exterior, the lower image a cross-section.
This is how the negative mould was created for the subsequent plaster mould, which was used to cast the individual parts.
A 3D-printed model of a two-part casting mould stands on a workbench. The upper image shows the exterior, the lower image a cross-section.
This is how the negative mould was created for the subsequent plaster mould, which was used to cast the individual parts.
A hand lifts the upper part of a white casting mould, revealing the black PLA mould inside.
Charlotte was then able to heat the 3D-printed mould to reshape it and thus remove the plaster cast.
A hand lifts the upper part of a white casting mould, revealing the black PLA mould inside.
Charlotte was then able to heat the 3D-printed mould to reshape it and thus remove the plaster cast.
Charlotte assembles the individual parts of a white casting mould on a workbench. The plaster and mould-making workshop is visible in the background.
The result was a five-part plaster mould, which could be used to cast the jug.
Charlotte assembles the individual parts of a white casting mould on a workbench. The plaster and mould-making workshop is visible in the background.
The result was a five-part plaster mould, which could be used to cast the jug.
Robert Elias Wachholz removes a ceramic vessel from an open kiln whilst wearing protective gloves.
As Robert Elias Wachholz takes the very first model – still over 200 degrees Celsius – out of the kiln...
Robert Elias Wachholz removes a ceramic vessel from an open kiln whilst wearing protective gloves.
As Robert Elias Wachholz takes the very first model – still over 200 degrees Celsius – out of the kiln...
Charlotte smiles while examining a white ceramic vessel resting on the edge of a kiln.
... Charlotte is absolutely thrilled.
Charlotte smiles while examining a white ceramic vessel resting on the edge of a kiln.
... Charlotte is absolutely thrilled.
A white ceramic vessel with an asymmetrical opening stands on the edge of a kiln. Additional ceramic objects are visible in the background.
The result is almost perfect, and the plan involving the complicated mould has worked out.
A white ceramic vessel with an asymmetrical opening stands on the edge of a kiln. Additional ceramic objects are visible in the background.
The result is almost perfect, and the plan involving the complicated mould has worked out.
Wearing a heat-resistant glove, Charlotte carefully places a ceramic vessel into a kiln.
On closer inspection...
Wearing a heat-resistant glove, Charlotte carefully places a ceramic vessel into a kiln.
On closer inspection...
A finger points to a fingerprint visible on the surface of a white ceramic vessel.
...Charlotte spots a small dent – her fingerprint – which she had inadvertently left on the fabric.
A finger points to a fingerprint visible on the surface of a white ceramic vessel.
...Charlotte spots a small dent – her fingerprint – which she had inadvertently left on the fabric.

From Porcelain Ping-Pong to a Dialogue with Digital Data

Two students are working together on a laptop. One is leaning over the table, whilst the other is sitting in front of the computer.
Students on the »Immersive Spaces« course are working on interactive audiovisual installations using TouchDesigner at the Digital Bauhaus Lab’s Performance Platform.

The »Immersive Spaces« course with artistic staff member Isabella Lee Arturo focusses on digital immersive spaces. A visit to the Performance Platform at the Digital Bauhaus Lab: Four students sit at their computers. The tool they are using is called TouchDesigner, a software programme for interactive audiovisual projects. Anyone who believes they can just »vibe-code« their way through this software with a prompt in an AI platform is mistaken; »ChatGPT doesn't help me at all with visual programming«, says Afonso, an exchange student from Portugal. 

TouchDesigner uses a node-based programming language. Its logic is not expressed as text but built as a network in space: Operators, functional building blocks, as well as parameters and connections. Large language models like ChatGPT, on the other hand, are more helpful with text-based code. They cannot simply interpret the branching structures, settings, and constantly changing values that make up this kind of operator network. When something goes sideways, the students trace the paths of the operators until they find the point where the problem originated. 

»Students learn by doing in my course«, says Isabella Lee Arturo. »We start by working with the software, experimenting, repeating, and sometimes failing.« The aspiring media designers »prompt« the creative process at the interface between input and output: the processing stage. Incoming data is processed, normalised, manipulated, and combined through interactions that the students have designed themselves. Lee Arturo compares data to clay: It can be shaped, pressed, and stretched. The result is an installation – interactive and immersive. 

Ines developed an installation that tracks visitors’ hands. Pull them apart, rotate them – and three filters appear on the large video wall that can be controlled through hand movements. Luisa’s work transforms entire bodies into swirling, glowing turquoise shadows. Julian makes pink bubbles stream from his viewer's fingertips: One hand acts like a magnetic field, pulling all the particles towards it and sending them swirling through the air. 

Anyone wanting to experience what it feels like to prompt not with words but with hands, gestures, and movement is encouraged to visit »summaery2026« and test out the installations for themselves.

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One person is pointing at the LED wall, whilst another is sitting at the control console. A camera on a tripod is filming the room.
On the Performance Platform, students explore how movements in space can be translated into audiovisual responses using a camera, software and a video wall.
One person is pointing at the LED wall, whilst another is sitting at the control console. A camera on a tripod is filming the room.
On the Performance Platform, students explore how movements in space can be translated into audiovisual responses using a camera, software and a video wall.
A section of the TouchDesigner interface showing a body detection window. Coloured silhouettes indicate the real-time tracking of people.
The software processes camera data in real time: input operators receive signals, whilst output operators display the visual effects on the video wall.
A section of the TouchDesigner interface showing a body detection window. Coloured silhouettes indicate the real-time tracking of people.
The software processes camera data in real time: input operators receive signals, whilst output operators display the visual effects on the video wall.
The TouchDesigner software interface is displayed on a large-format LED screen. A camera feed with digital effects can be seen in the background
Debugging in TouchDesigner: If something isn’t working as planned, students trace the paths of the operators, parameters and connections – right up to the point where the problem lies.
The TouchDesigner software interface is displayed on a large-format LED screen. A camera feed with digital effects can be seen in the background
Debugging in TouchDesigner: If something isn’t working as planned, students trace the paths of the operators, parameters and connections – right up to the point where the problem lies.
Students stand in front of a large-format LED screen. The camera image is altered in real time with digital distortions and mosaic effects.
Ines’ installation tracks visitors’ hands: by dragging and rotating, they can control different filters on the large video wall.
Students stand in front of a large-format LED screen. The camera image is altered in real time with digital distortions and mosaic effects.
Ines’ installation tracks visitors’ hands: by dragging and rotating, they can control different filters on the large video wall.
Several interconnected modules of the TouchDesigner software are displayed on an LED wall. Alongside them are abstract silhouettes of people.
In Luisa’s work, bodies and movements are tracked and projected onto the video wall as abstract, glowing turquoise shadows.
Several interconnected modules of the TouchDesigner software are displayed on an LED wall. Alongside them are abstract silhouettes of people.
In Luisa’s work, bodies and movements are tracked and projected onto the video wall as abstract, glowing turquoise shadows.
Two students are testing an interactive application in front of the Performance Platform’s LED wall. Their movements are translated into digital particles and graphic effects in real time.
Julian makes pink bubbles stream from the visitors’ fingers: one hand acts like a magnetic field, drawing the particles into a vortex.
Two students are testing an interactive application in front of the Performance Platform’s LED wall. Their movements are translated into digital particles and graphic effects in real time.
Julian makes pink bubbles stream from the visitors’ fingers: one hand acts like a magnetic field, drawing the particles into a vortex.

summaery2026 | Fakultät Kunst & Gestaltung

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Video: Angye Diener

Exhibitions of both projects during summaery2026

Grundlagen keramischer Gestaltung
Specialist Course with Isa Schreiber
Geschwister-Scholl-Straße 13, Room 012
99423 Weimar

Immersive Spaces: Art Installations with TouchDesigner
Specialist Course with Isabella Lee Artuto
Sendehalle Weimar
Humboldtstraße 36A
99425 Weimar

» All summaery2026 projects

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