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GMU:Hallucinating computers and dreaming non-machines/David Frommhold

2025-07-01T07:04:39Z

DavidFr.: Blanked the page

GMU:Hallucinating computers and dreaming non-machines/David Frommhold

2025-05-28T21:41:16Z

DavidFr.:

'''When non-human actors''' such as '''gods''' in myths, '''animals''' and '''plants''' in fables or '''aliens''' in science fiction novels speak, they usually do so vicariously or allegorically. Even stories in '''animism''' and '''scientific papers''' that tell of natural forces appeal to '''human imagination, spirituality or cognition'''. But how can all those non-human objects that determine our existence, such as '''bacteria''' and '''fungi''', '''the''' '''ocean''' and '''the forest''', '''the climate''', '''the microbiome of the soil''' or '''intestines''', be made to speak? Do we have to learn to tell '''stories in foreign tongues'''? If there is no escape from language, with or without the linguistic principle of relativity for art, the '''question''' arises once again, renewed by the passage of time, as to whether storytelling does not also mean '''action.''' This assumes that works have a power to act that '''transforms''' passive objects into active subjects'''.''' Works of art go beyond being carriers of meaning to become '''carriers of action''' that generate a logic of their own, independent of the artist's stylistic will and intentions and also independent of the viewer's interpretations. A logic of its own that produces a form and an aesthetic that emerges independently of authorship. '''How could such art be created? What conditions can we create for it to take place?'''

[[File:Ovid's Pygmalion.jpg|center|thumb|616x616px|Ovid's Pygmalion]]

'''The Master Thief'''

A poor cottager has nothing to give his three sons, so he walks with them to a crossroad, where each son takes a different road.

The youngest goes into a great woods, and when a storm strikes, he seeks shelter in a house. An old woman nearby warns him that the house is a den of robbers, but he stays anyway. When the robbers arrive, he persuades them to take him on as a servant.

The robbers tell the boy to prove himself by stealing an ox that a man is bringing to market. The boy puts a shoe with a silver buckle in the road. When the man sees it, he thinks it would be good if only he had the other, and he continues on. The boy takes the shoe, runs through the countryside, and puts it in the road again. The man, when he comes across the shoe a second time, leaves his ox to go back and find the other, and the son drives the ox off.

The man goes to get his second ox to sell. The robbers tell the boy that if he steals that one as well, they will take him into the band. The boy hangs himself up along the path, and the man passes him. The boy runs ahead and hangs himself again and then a third time, until the man is half-convinced that it is witchcraft, and when he goes back to see if the first two bodies are still hanging, the son drives off his second ox.

The man gets his third and last ox, and the robbers say that they will make the boy the band's leader if he steals it. The son makes a sound like an ox bellowing in the woods, and the man, thinking it was his stolen oxen, runs off, leaving the third behind, the son steals that one as well.

The robbers are not pleased with the boy leading the band, so they leave him. The boy drives the oxen out so they return to their owner, takes all the treasure in the house, and returns to his father.

The boy wants to marry the daughter of a local squire, so he sends his father to ask for her hand, telling him to inform the squire that he is a Master Thief. The squire agrees to the union, but only if the boy proves himself by stealing the roast from the spit on Sunday. The boy catches three hares and releases them at intervals near the squire's kitchen, and the people there, thinking it was one hare, go out to catch it. The boy enters and steals the roast.

When the Master Thief comes to claim his reward, the squire asks him to prove his skill further by playing a trick on the priest. The Master Thief dresses up as an angel and convinces the priest that he has come to take him to heaven. He drags the priest over stones and thorns and throws him into the goose-house, telling him it is purgatory, and then steals all his treasure.

The squire is pleased, but still denies the boy, telling him to steal twelve horses from his stable with twelve grooms in their saddles. The Master Thief disguises himself as an old woman and takes shelter in the stable. When the night grows cold, he drinks brandy against it. The grooms demand some, and he gives them a drugged drink, putting them to sleep, and steals the horses.

The squire denies the boy again, asking if he could steal a horse while the squire is out riding it. The Master Thief says he can. He disguises himself as an old man with a cask of mead and puts his finger in the hole in place of the tap. The squire rides up and asks the disguised boy if he would look in the woods to be sure that the Master Thief did not lurk there. The boy says that he cannot because he has to keep the mead from spilling. The squire takes his place and lends him his horse so he can look, and the boy steals the horse.

The squire denies him once more, asking if he could steal the sheet off his bed and his wife's shift. The Master Thief makes a dummy with the appearance of a man, and when he puts it at the window, the squire shoots it, and the boy lets it drop. Fearing talk, the squire goes to bury it, and the Master Thief, pretending to be the squire, acquires the sheet and the shift on the pretext that they are needed to clean up the blood.

The squire is too afraid of what the thief will steal next, so he lets him marry his daughter.

'''The Trickster/ Thief - Prometheus'''

[[File:Prometheus.jpg|center|thumb|708x708px]]
They (the humans) went to Jupiter (Zeus) and complained to him about their benefactor. When the father of the gods and the other gods found out about the theft, they were not angry at all, but were even delighted with what had happened. They not only gave the humans the fire, but also gave them another gift: eternal youth. Overjoyed, the people loaded this gift onto the back of a donkey, which set off on its journey home. On the way, the donkey suffered from great thirst. He came to a spring, but it was guarded by a snake, which only allowed him to drink on condition that he gave it what he was carrying on his back. The poor donkey agreed, and so the humans lost their eternal youth. - Bacon saw the Prometheus myth as a symbolic representation of the human condition. He interpreted Jupiter's accusation against the Firebringer as a justified human complaint about the inadequacy of previous scientific knowledge, which was in need of improvement. This shows human dissatisfaction with what has already been achieved, the rejection of stagnation and the constant striving for new inventions. This will to progress pleased Jupiter and prompted him to make the further gift, as such an attitude was worth rewarding. For Bacon, the donkey as a sluggish animal symbolizes the slowness of scientific progress based on mere empirical knowledge without theoretical insight. Humans had made the mistake of loading the gift of the gods onto a cumbersome, dull beast of burden.

One of the oldest elements of the saga is the significance of fire theft as the beginning of civilization. The aspect of civilization was elaborated in the course of development and became more important within the mythical tradition; the mere thief became a man of knowledge and enlightenment. The creation of man was added as a more recent special motif. The role of the protagonist became considerably more important as the myth was expanded.

In many parts of the world, tales have arisen according to which the human use of fire began with theft or fraud: Fire was stolen from a deity or purloined from the heavens or a fairyland, or knowledge of its creation was obtained by tricking the original owner. The theft is often described as the act of a legendary hero, a cunning cultural hero of the trickster type. The background to such tales is the assumption of an antagonistic relationship between gods and humans. The humans came into possession of the precious commodity not through the favor of the original divine owner of the fire, but through the daring of a cunning helper.
[[File:Screenshot 2025-05-22 at 23-05-08 SpiritualWiki - Archetypen.png|center|thumb|1000x1000px]]

______________________________________________________________________________________________________________________________________

'''Wikipedia: Apophenia''' (from the ancient Greek ἀποφαίνειν apophaínein '''<nowiki/>'to show', 'to appear', 'to realize'''') refers to the experience of perceiving apparent '''patterns''' and relationships in '''random''', meaningless '''details''' of the environment in schizophrenia[1].

The term was coined in 1958 by the psychiatrist Klaus Conrad, who defined apophenia as the “groundless seeing of connections accompanied by the special sensation of abnormal significance”. He originally described the phenomenon in relation to distortions of perception that occur in psychoses; however, his term is now also applied to similar tendencies in healthy people who have no neurological or mental illnesses.

Apophenia is a variant of the clustering illusion. It is also a subtype of pareidolia. Apophenia is limited to the aspect of “seeing” something in a random structure, whereas pareidolia also includes the (actively) “sought” perceptions.

'''Comment:''' To a lesser extent, apophony is an integral part of human perception, without which we would be unimaginative beings without creativity. Brains long for meaning. Randomness makes them restless and they are unable to process real chaos. Sensory data is compared with existing experiences, habits and mental states and placed in a relationship that corresponds to our life story. A neurological demon forces us to put random impressions into a supposed order in order to arrive at a coherent story of the self. The grand narrative is therefore about ourselves and is called the ego. It gives meaning, orders the world, organizes perception and creates a psychological home. If we lose the red thread in the ego narrative, we lose ourselves and have to reinterpret ourselves in the environment, reinvent ourselves as a story.

[[File:Tafel 1.jpg|center|thumb|800x800px|Tafel 1]]
[[File:Tafel 2.jpg|center|thumb|800x800px|Tafel 2]]
[[File:Tafel 3.jpg|center|thumb|800x800px|Tafel 3]]
[[File:Tafel 4.jpg|center|thumb|800x800px|Tafel 4]]

This Image Selection touches on the idea of truth, collective memory and object oriented visualization methods in an image based world. It is a contiuation of previous works, that ask questions of the displayability of images, object memory and shared interpersonal narratives such as folklore, family matters and concepts like ''history is written by the victors''.

[[File:1.1.1.jpg|center|thumb|667x667px|Collage 1]]

References:

Aby Warburg - https://de.wikipedia.org/wiki/Mnemosyne_(Bildatlas)

https://www.thomasfeuerstein.net/

https://www.simon-lehner.com/projects/i-love-you-like-an-image/

https://www.pinaultcollection.com/palazzograssi/en/pierre-huyghe-liminal

https://www.laurabielau.com/images/

https://forensic-architecture.org/

https://www.thomasruff.com/werke/jpeg/

https://nautiluslive.org/

File:1.1.1.jpg

2025-05-28T21:37:22Z

DavidFr.:

collage 1

File:Ovid's Pygmalion.jpg

2025-05-28T21:20:11Z

DavidFr.:

Ovid's Pygmalion

GMU:Hallucinating computers and dreaming non-machines/David Frommhold

2025-05-26T11:22:50Z

DavidFr.:

'''The Master Thief'''

A poor cottager has nothing to give his three sons, so he walks with them to a crossroad, where each son takes a different road.

The youngest goes into a great woods, and when a storm strikes, he seeks shelter in a house. An old woman nearby warns him that the house is a den of robbers, but he stays anyway. When the robbers arrive, he persuades them to take him on as a servant.

The robbers tell the boy to prove himself by stealing an ox that a man is bringing to market. The boy puts a shoe with a silver buckle in the road. When the man sees it, he thinks it would be good if only he had the other, and he continues on. The boy takes the shoe, runs through the countryside, and puts it in the road again. The man, when he comes across the shoe a second time, leaves his ox to go back and find the other, and the son drives the ox off.

The man goes to get his second ox to sell. The robbers tell the boy that if he steals that one as well, they will take him into the band. The boy hangs himself up along the path, and the man passes him. The boy runs ahead and hangs himself again and then a third time, until the man is half-convinced that it is witchcraft, and when he goes back to see if the first two bodies are still hanging, the son drives off his second ox.

The man gets his third and last ox, and the robbers say that they will make the boy the band's leader if he steals it. The son makes a sound like an ox bellowing in the woods, and the man, thinking it was his stolen oxen, runs off, leaving the third behind, the son steals that one as well.

The robbers are not pleased with the boy leading the band, so they leave him. The boy drives the oxen out so they return to their owner, takes all the treasure in the house, and returns to his father.

The boy wants to marry the daughter of a local squire, so he sends his father to ask for her hand, telling him to inform the squire that he is a Master Thief. The squire agrees to the union, but only if the boy proves himself by stealing the roast from the spit on Sunday. The boy catches three hares and releases them at intervals near the squire's kitchen, and the people there, thinking it was one hare, go out to catch it. The boy enters and steals the roast.

When the Master Thief comes to claim his reward, the squire asks him to prove his skill further by playing a trick on the priest. The Master Thief dresses up as an angel and convinces the priest that he has come to take him to heaven. He drags the priest over stones and thorns and throws him into the goose-house, telling him it is purgatory, and then steals all his treasure.

The squire is pleased, but still denies the boy, telling him to steal twelve horses from his stable with twelve grooms in their saddles. The Master Thief disguises himself as an old woman and takes shelter in the stable. When the night grows cold, he drinks brandy against it. The grooms demand some, and he gives them a drugged drink, putting them to sleep, and steals the horses.

The squire denies the boy again, asking if he could steal a horse while the squire is out riding it. The Master Thief says he can. He disguises himself as an old man with a cask of mead and puts his finger in the hole in place of the tap. The squire rides up and asks the disguised boy if he would look in the woods to be sure that the Master Thief did not lurk there. The boy says that he cannot because he has to keep the mead from spilling. The squire takes his place and lends him his horse so he can look, and the boy steals the horse.

The squire denies him once more, asking if he could steal the sheet off his bed and his wife's shift. The Master Thief makes a dummy with the appearance of a man, and when he puts it at the window, the squire shoots it, and the boy lets it drop. Fearing talk, the squire goes to bury it, and the Master Thief, pretending to be the squire, acquires the sheet and the shift on the pretext that they are needed to clean up the blood.

The squire is too afraid of what the thief will steal next, so he lets him marry his daughter.

[[File:Prometheus.jpg|center|thumb|708x708px]]
They (the humans) went to Jupiter (Zeus) and complained to him about their benefactor. When the father of the gods and the other gods found out about the theft, they were not angry at all, but were even delighted with what had happened. They not only gave the humans the fire, but also gave them another gift: eternal youth. Overjoyed, the people loaded this gift onto the back of a donkey, which set off on its journey home. On the way, the donkey suffered from great thirst. He came to a spring, but it was guarded by a snake, which only allowed him to drink on condition that he gave it what he was carrying on his back. The poor donkey agreed, and so the humans lost their eternal youth. - Bacon saw the Prometheus myth as a symbolic representation of the human condition. He interpreted Jupiter's accusation against the Firebringer as a justified human complaint about the inadequacy of previous scientific knowledge, which was in need of improvement. This shows human dissatisfaction with what has already been achieved, the rejection of stagnation and the constant striving for new inventions. This will to progress pleased Jupiter and prompted him to make the further gift, as such an attitude was worth rewarding. For Bacon, the donkey as a sluggish animal symbolizes the slowness of scientific progress based on mere empirical knowledge without theoretical insight. Humans had made the mistake of loading the gift of the gods onto a cumbersome, dull beast of burden.

One of the oldest elements of the saga is the significance of fire theft as the beginning of civilization. The aspect of civilization was elaborated in the course of development and became more important within the mythical tradition; the mere thief became a man of knowledge and enlightenment. The creation of man was added as a more recent special motif. The role of the protagonist became considerably more important as the myth was expanded.

In many parts of the world, tales have arisen according to which the human use of fire began with theft or fraud: Fire was stolen from a deity or purloined from the heavens or a fairyland, or knowledge of its creation was obtained by tricking the original owner. The theft is often described as the act of a legendary hero, a cunning cultural hero of the trickster type. The background to such tales is the assumption of an antagonistic relationship between gods and humans. The humans came into possession of the precious commodity not through the favor of the original divine owner of the fire, but through the daring of a cunning helper.
[[File:Screenshot 2025-05-22 at 23-05-08 SpiritualWiki - Archetypen.png|center|thumb|1000x1000px]]

______________________________________________________________________________________________________________________________________
[[File:Tafel 1.jpg|center|thumb|800x800px|Tafel 1]]
[[File:Tafel 2.jpg|center|thumb|800x800px|Tafel 2]]
[[File:Tafel 3.jpg|center|thumb|800x800px|Tafel 3]]
[[File:Tafel 4.jpg|center|thumb|800x800px|Tafel 4]]

This Image Selection touches on the idea of truth, collective memorie and object oriented visualization methods in an image based world. It is a contiuation of previous works, that ask questions of the displayability of images, object memory and shared interpersonal narratives such as folklore, family matters and concepts like ''history is written by the victors''.

References:

https://www.simon-lehner.com/projects/i-love-you-like-an-image/

https://www.pinaultcollection.com/palazzograssi/en/pierre-huyghe-liminal

https://www.laurabielau.com/images/

https://forensic-architecture.org/

https://www.thomasruff.com/werke/jpeg/

https://nautiluslive.org/

GMU:Hallucinating computers and dreaming non-machines/David Frommhold

2025-05-26T11:19:24Z

DavidFr.:

GMU:Hallucinating computers and dreaming non-machines/David Frommhold

2025-05-22T21:11:28Z

DavidFr.:

File:Screenshot 2025-05-22 at 23-05-08 SpiritualWiki - Archetypen.png

2025-05-22T21:06:54Z

DavidFr.:

Trickster

File:Prometheus.jpg

2025-05-22T20:53:45Z

DavidFr.:

Prometheus

GMU:Hallucinating computers and dreaming non-machines/David Frommhold

2025-05-20T21:43:16Z

DavidFr.:

File:Tafel 4.jpg

2025-05-20T21:42:07Z

DavidFr.:

Tafel 4

File:Tafel 3.jpg

2025-05-20T21:41:07Z

DavidFr.:

Tafel 3

File:Tafel 2.jpg

2025-05-20T21:40:12Z

DavidFr.:

Tafel 2

File:Tafel 1.jpg

2025-05-20T21:37:41Z

DavidFr.:

Tafel 1

GMU:Hallucinating computers and dreaming non-machines/David Frommhold

2025-05-20T15:44:14Z

DavidFr.: Created page with "This Image Selection touches on the idea of truth, collective memorie and object oriented visualization methods in an image based world. It is a contiuation of previous works, that ask questions of the displayability of images, object memory and shared interpersonal narratives such as folklore, family matters and concepts like ''history is written by the victors''. In this respect, i see images as autonomous agents that carry meaning, purpose and intrinsic/deep ''truth'..."

This Image Selection touches on the idea of truth, collective memorie and object oriented visualization methods in an image based world. It is a contiuation of previous works, that ask questions of the displayability of images, object memory and shared interpersonal narratives such as folklore, family matters and concepts like ''history is written by the victors''.

In this respect, i see images as autonomous agents that carry meaning, purpose and intrinsic/deep ''truth''. It is important to me, not to confuse truth with fact. Fact as data based information is superficial and truth is something deeper.

[[File:Reymysteriofacereveal1.jpg|WCW fighter Rey Mysterio face reveal 21 Feb 1999|alt=WCW fighter Rey Mysterio face reveal 21 Feb 1999|center|thumb]]
[[File:Reymysteriofacereveal.jpg|WCW fighter Rey Mysterio face reveal 21 Feb 1999|alt=WCW fighter Rey Mysterio face reveal 21 February 1999|center|thumb]]
[[File:1280px-Castle and brewery in Kolín 2pot dorf.jpg|thumb|349x349px|A Potemkin village is the term used to describe a fake or the “pretense of false facts”: Through material and/or organizational effort (“dummies”, actors, etc.), the illusion of demonstrable success, prosperity, etc. is created.|center]]
[[File:Bokasa daughter.jpg|center|thumb|Jean-Bédel Bokassa and his <nowiki>''</nowiki>imposter<nowiki>''</nowiki> daughter Martine]]
On another note, I am interested in the synthesis of images. The collecting of data and particularly the visualization of it. Instruments, endeavours, data, shape and forms.
[[File:Anatomical theatre Leiden.jpg|center|thumb|442x442px|Anatomical theatre]]
[[File:NautilusLive.png|center|thumb|409x409px|Deep sea altitude profile]]
[[File:ROV - remotely operated vehicle - Hercules.jpg|center|thumb|421x421px|ROV - remotely operated vehicle - Hercules]]
[[File:Nasahubble.png|center|thumb|417x417px|NASA technicians working on the mirrors of the Hubble-Telescope]]
In the next step, I continue to work with found fottage. In video format, I trace what algorythms <nowiki>''think''</nowiki> of me...

File:Nasahubble.png

2025-05-20T15:41:52Z

DavidFr.:

NASA technicians working on the mirrors of the Hubble-Telescope

File:ROV - remotely operated vehicle - Hercules.jpg

2025-05-20T15:40:10Z

DavidFr.:

ROV - remotely operated vehicle - Hercules

File:NautilusLive.png

2025-05-20T15:38:44Z

DavidFr.:

Deep sea altitude profile

File:Anatomical theatre Leiden.jpg

2025-05-20T15:33:50Z

DavidFr.:

Anatomical theatre

File:Bokasa daughter.jpg

2025-05-20T15:28:09Z

DavidFr.:

Jean-Bédel Bokassa and his imposter daughter Martine

File:1280px-Castle and brewery in Kolín 2pot dorf.jpg

2025-05-20T15:20:38Z

DavidFr.:

A Potemkin village is the term used to describe a fake or the “pretense of false facts”: Through material and/or organizational effort (“dummies”, actors, etc.), the illusion of demonstrable success, prosperity, etc. is created.

File:Reymysteriofacereveal.jpg

2025-05-20T15:16:20Z

DavidFr.:

WCW fighter Rey Mysterio face reveal 21 February 1999

File:Reymysteriofacereveal1.jpg

2025-05-20T15:08:57Z

DavidFr.:

Video of WCW fighter Rey Mysterio's face reveal February 21 1999

GMU:Hallucinating computers and dreaming non-machines

2025-05-16T18:06:07Z

DavidFr.: /* Students */

[[File:Dreaming computers.png|thumb|539x539px]]
==Project Module: Hallucinating Computers and Dreaming Non-Machines==
Isabella Lee Arturo, Dr. Mindaugas Gapševičius, Prof. Ursula Damm

The course wants to stimulate and accompany projects of students dealing with emergent behavior of computers and/or their co-existence with non-machines. Non-machine is a term which has been introduced by Mindaugas Gapsevicius and names all non-technical subjects (humans, animals, plants). It inspires us to look at living things from the perspective of a machine and vice versa.

In the module we want to imagine how non-humans dream or how we - humans can use our dreams for a meaningful exchange with other non-machines.

We comprehend the concept of [dreaming] as a term that connects with fictions, futuristic speculations and desires.

And what about human-shaped machines? Being confronted with hallucinations of software processes in many facets of our daily lives, we would also like to better understand the difference between computer hallucinations and our own dreaming capacity.

More and more research focuses on all the creatures which made human life possible. Millions of years of photosynthesis made it possible for us to live on earth today. The ecological crises show that we have not yet understood our dependence on our ecological embedding. Have we developed the wrong kind of technology? What can the capabilities of contemporary technology contribute to a common, intellectual and spiritual sphere?

==Syllabus==
* 14-04-2025. Lead: Isabella / miga, [[/Introduction mentors and students. Wiki]]
* 15-04-2025. Lead: Isabella / miga, [[non-machines presentation / Latinamerica Artist presentation]]
* 21-04-2025. Holidays
* 22-04-2025. Lead: Isabella, [[First Wall Presentation (Studio Tour) / Body Workshop]]
* 28-04-2025. Lead: Bethan Hughes / Miga
* 29-04-2025. Lead: Bethan Hughes / Miga
* 05-05-2025. Lead: Isabella, [[Studio Afternoon]]
* 06-05-2025. Lead: Isabella, [[Presentation Day]]
* 12-05-2025. Lead: Lia Giannakou / Miga, [[/The Conscious Body: An Emergency Act]]
* 13-05-2025. Lead: Miga, [[Reading Non-machines, Presentation Day]]
* 19-05-2025. Lead: Moritz Wehrmann / Isabella, [[Workshop]]
* 20-05-2025. Lead: Moritz Wehrmann / Isabella, [[Workshop]]
* 26-05-2025. Lead: Miga, [[Studio Afternoon]]
* 27-05-2025. Lead: Miga, [[Presentation Day]]
* 02-06-2025. Lead: Isabella, [[Studio Afternoon]]
* 03-06-2025. Lead: Isabella, [[Presentation Day]]
* 09-06-2025. Pfingsten: 09.06.2025
* 10-06-2025. Lead: Miga, [[Mid-term Project presentation]]
* 16-06-2025. Lead: Isabella, [[Mid-term Project presentation]]
* 17-06-2025. Lead: Isabella, [[Mid-term Project presentation]]
* 23-06-2025. Lead: Miga, [[Studio Afternoon]]
* 24-06-2025. Lead: Miga, [[Mid-term Project presentation]]
* 30-06-2025. Lead: Isabella, [[Mid-term Project presentation]]
* 01-07-2025. Lead: Isabella, [[Mid-term Project presentation]]
* 07-07-2025. Lead: Iannis Zannos. Isabella+miga, [[/Bartok as Proto-Bio-Artist]]
* 08-07-2025. Lead: Isabella+miga, [[summaery 2025 ]]

==Students==
* [[/Lina Louise Wolff]]
* [[/Alaina Sophie Nugnis]]
* [[/Buba Beboshvili]]
* [[/Negin Ehtesabian]]
* [[/Mahla Mosahaneh]]
* [[/Radu Paul Simon Reinhardt]]
* [[/David Frommhold]]
* /Oeykue Tuerkan Didinir
* [[/Theo]]

== Students Artist Presentation Schedule: ==
06-05-2025: Theo

13-05-2025: Buba

26-05-2025 (Monday/ 1.5 hour): Negin

27-05-2025: Mahla and Lina

03-06-2025: David and Alaina

==Recommended Fach courses==

* [https://www.uni-weimar.de/qisserver/rds?state=verpublish&status=init&vmfile=no&publishid=66083&moduleCall=webInfo&publishConfFile=webInfo&publishSubDir=veranstaltung Unexpected Imageries - programming generative art] By Ting Chun Liu
* [https://www.uni-weimar.de/qisserver/rds?state=verpublish&status=init&vmfile=no&publishid=66132&moduleCall=webInfo&publishConfFile=webInfo&publishSubDir=veranstaltung Aesthetics of Macroworlds] by Alessandro Volpato and Alexander König
* [https://www.uni-weimar.de/qisserver/rds?state=verpublish&status=init&vmfile=no&publishid=66135&moduleCall=webInfo&publishConfFile=webInfo&publishSubDir=veranstaltung A investigation in machine learing / "AI"] by Alexander König
* [https://www.uni-weimar.de/qisserver/rds?state=verpublish&status=init&vmfile=no&publishid=66334&moduleCall=webInfo&publishConfFile=webInfo&publishSubDir=veranstaltung Computer Aided Fabrication and the Wilderness] by Felix Bonowski
* [https://www.uni-weimar.de/qisserver/rds?state=verpublish&status=init&vmfile=no&publishid=66148&moduleCall=webInfo&publishConfFile=webInfo&publishSubDir=veranstaltung Speech to Text to Actions] by Isabella Lee Arturo
* [https://www.uni-weimar.de/qisserver/rds?state=verpublish&status=init&vmfile=no&publishid=66172&moduleCall=webInfo&publishConfFile=webInfo&publishSubDir=veranstaltung Technosolutionism + Silicone Nightmares] by Bethan Hughes

==Recommended Artists==

* [https://deweyhagborg.com/ Heather Dewey-Hagborg]
* [https://annaridler.com/works Anna Ridler]
* [https://stephanierothenberg.com/ Stephanie Rothenberg]
* [https://afroditipsarra.com/ Afroditi Psarra]
* [https://www.spelapetric.org/ Špela Petrič]

==Recommended Literature==
* Wikipedia. https://en.wikipedia.org/wiki/Cybernetics
* Hui, Y. (2024). Cybernetics for the 21st Century. Vol. 1: Epistemological Reconstruction. Hong Kong: Hanart Press. Available at https://hanart.press/cybernetics-for-the-21st-century-vol-1/
* Hayles, N. K. 1999. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: The University of Chicago Press. Available at http://thedigitalcommons.org/docs/hayles-posthuman-01.pdf
* AI Uncovered (2024). “Here's How AI 2.0 Will Be DIFFERENT.” Available at https://www.youtube.com/watch?v=HkS3cG3jCt0