Medien Wiki - User contributions [en]

PDCON:Testimonials

2011-10-11T20:04:51Z

Kydkydkyd:

* Thanks for an awesome convention. Huge thanks to Max and Bjorn for organising things so well. Great stuff guys... – ''Ed K. Great Britain''
* It was a blast to be there and it was a beautiful convention. Thank you really a lot for everything – ''Paloma O. Brazil''
* OK, now I have to admit, it was just great :)) thx for organising all these interesting presentations, concerts and all the nice Pd stuff (I have to chew on that for a while..) – ''Paul G. Austria''
* It was a great conference, I'm looking forward to the performances and late nights next time round (wherever it may be). Till next time – ''Donna L. Canada''
* Hello, everybody together, it was to be very nicely with the Pd-Convention11. Many thanks over again for the great work, workshops and organisation! ''Eduardo F. Brazil''
* Hello everybody.. Maybe nothing new to say... but... it was a very interesting convention!, was great to meet new faces.. and hopefully see you in forthcoming projects or conventions.. ''Ruben D. Germany''
* THKS! TO ALL; WE DID IT! long life Pure Data – ''Montse T. Spain''
* Dearest All! This week was a blast! Many, many thanks to everyone who made this great meeting possible! I'm pleased to have met this bunch of such great people! Looking forward to hear from you and see you again! Best wishes – ''Michael Z. Austria''
* Great to meet you all. Hopefully see you at the next one. – ''Richard G. Great Britain''
* It was a real great pleasure to be with you all. I have now fresh mental food to digest for some weeks while I work, cook, bike and live around. See you and thanks for the companionship! – ''Regis F. Brazil
* It was nice to meet you and as others just say, what an exciting week! I wish we could make it soon again. –''Ricardo C. Germany''
* useless to say it was an amazing week, packed of awesome contents and people! – ''Marco D. Italy''
* Amazing biers with you guys. fantastics patches and new fresh ideas. – ''Ricardo P. Brazil''
* I also want to thank everybody in this awesome community. – ''Michael S. Germany''
* What an amazing week, still can't believe it! – ''Quim L. Spain''
* I really enjoyed being in Weimar, meeting you and listening to or watching your contributions. Thanks again to the organizers for their amazing work! – ''Thomas G. Austria''
* Thanks folks at Weimar and Berlin, it was an excellent convention. – ''Pedro L. Portugal''
* Almost nothing to add to these previous messages, only that I really really enjoyed being in Weimar and Berlin as well. Thanks again to Max, Bjoern, Joao and many others for their contribution! – ''Funs S. Netherlands''
* Thanks to all the organizers! Last week was really great – I'm still exhausted. I'm inspired to try having some Pd workshops of my own – ''Charles H. USA''
* Indeed, it was a really enjoyable week. Too bad that I missed some occasions to hang out in the evenings with you. Anyway, I'm glad to have you all seen. – ''Roman H. Switzerland''
* It was a really nice week – my congratulation to all involved specially for the team Max, Bjorn, Joao, Carsten, Pad and all that i forgot the name now, vielen dank – ''Giuliano O. Brazil''
* I'd like to also chime in and say it was a great time. Good to meet old friends and make new ones. I look forward to the next PdCon whether it be in Pittsburgh, Japan, France, Africa, Antarctica, or Mars (here's hoping for Mars). - ''Dan W. USA''
* A very big thanks goes to the organizers of PdCon11 and to the community of good people. I really enjoyed my time at the convention and like everybody else I am looking forward to the next one!! – ''Koray T. Finnland''
* joop saluti a tutti & thanks for this nice time! hasta leguan – ''olsen W. Switzerland''
* I was having a very good time in PdCon. I learned a lot from workshops and meet some great guys. – ''Jinyao L. Taiwan''
* After working at numerous festivals and conferences I'd like to mention that this event, though student organized, ran really well. I think this is due both to a great working team but also to the Pd community members who took part. The mix of technical and creative practices was done here with a real spirit of communication and sharing, and it worked. - [[User:Kydkydkyd|Kyd Campbell]]

{{Template:PdCon11}}

Hängende Gärten

2011-09-27T16:44:31Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==
by [[User:Kydkydkyd|Kyd Campbell]]
:[http://frontierlab.org personal project website]
:[http://windowfarms.org Windowfarms project website]

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos] [http://desertnumerique.incident.net/2011/ateliers.php?PHPSESSID=4b5fb3c16454fbd8fdb18f5fd4f62ac6#1 site]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos] [http://www.muehlenkampf.de/2011/09/15-17-sept-hangende-garten site]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-27T16:42:41Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==
by [[User:Kydkydkyd|Kyd Campbell]]
:[http://frontierlab.org personal project website]
:[http://windowfarms.org Windowfarms project website]

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos] [http://www.muehlenkampf.de/2011/09/15-17-sept-hangende-garten site]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:47:18Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==
by [[User:Kydkydkyd|Kyd Campbell]]
:[http://frontierlab.org| personal project website]
:[http://windowfarms.org|Windowfarms project website]

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:46:31Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==
by [[User:Kydkydkyd|Kyd Campbell]]
[http://frontierlab.org| personal project website]
[http://windowfarms.org|Windowfarms project website]

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:45:25Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

Hängende Gärten

2011-09-26T15:43:00Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==
by [[User:Kydkydkyd|Kyd Campbell]]

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:41:29Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA by User:Kydkydkyd Kyd Campbell */

==HÄNGENDE GÄRTEN v. BETA==
by [[User:Kydkydkyd Kyd Campbell]]

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:40:47Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA byUser:Kydkydkyd Kyd Campbell */

==HÄNGENDE GÄRTEN v. BETA by [[User:Kydkydkyd Kyd Campbell]]==

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:40:31Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA byKyd_Campbell Kyd Campbell */

==HÄNGENDE GÄRTEN v. BETA by[[User:Kydkydkyd Kyd Campbell]]==

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:39:46Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA byKyd_Campbell Kyd_Campbell */

==HÄNGENDE GÄRTEN v. BETA by[[Kyd_Campbell Kyd Campbell]]==

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:39:25Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA by[[Kyd_Campbell Kyd_Campbell]]==

[[File:HG header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==== Hydrokultur: Wie funktioniert das? ====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==== «R&D-I-Y» und «Ohne hierarchische Organisationen organisieren» ====
 Unser Garten integriert sich in das offene Projekt «Window Farms». Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird «R&D-I-Y» genannt (auf Englisch «Research & Develop It Yourself» - «Forsche und Entwickele Selbst»).

Hängende Gärten

2011-09-26T15:34:24Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==

[[File:HG_header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

* I started out building gardens with manual pumps, requiring no electricity. In September 2011 I developed an automated pumping system using an arduino microcontroller and automobile window washer pump to allow for more flexibility for the gardener.

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
====Hydrokultur: Wie funktioniert das?====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

====<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>====
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Hängende Gärten

2011-09-26T15:31:54Z

Kydkydkyd: /* Konzept der hängenden Gärten: die Hydrokultur, Set= */

==HÄNGENDE GÄRTEN v. BETA==

[[File:HG_header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

====Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
====Hydrokultur: Wie funktioniert das?====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

====<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>====
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Hängende Gärten

2011-09-26T15:31:15Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==

[[File:HG_header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

Using open source hardware plans offered by the [http://windowfarms.org Windowfarms] project, I have been teaching a number of workshops which are 2-fold: first focused on a DIY urban gardening technique; and secondly geared at teaching about collaborative design practices. Aside from being a great garden setup, the Windowfarms network is a perfect example of a working and open international collaboration and the project itself is a good exercise for becoming comfortable with DIY practices and modifying materials and techniques to best suit local conditions.

Through this project I personally have noticed that the strong design tactics used to present the project are very important tools for sharing social messages and that this level of communication is much needed in the social sphere.

===I am continuing to present the hanging garden installation and workshops as a process of developing my own thesis about effective tactics for communication in community settings.===

===Konzept der hängenden Gärten: die Hydrokultur, Set====
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
====Hydrokultur: Wie funktioniert das?====
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

====<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>====
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Hängende Gärten

2011-09-26T15:22:25Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==

[[File:HG_header.jpg|400px]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

===Konzept der hängenden Gärten: die Hydrokultur, Set===
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
===Hydrokultur: Wie funktioniert das?===
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

===<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>===
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

File:HG header.jpg

2011-09-26T15:21:37Z

Kydkydkyd:

== Summary ==

== Copyright status: ==

== Source: ==
kyd campbell

Hängende Gärten

2011-09-26T15:20:16Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==

[[File:HG_header.jpg]]

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

===Konzept der hängenden Gärten: die Hydrokultur, Set===
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
===Hydrokultur: Wie funktioniert das?===
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

===<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>===
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Hängende Gärten

2011-09-26T15:18:37Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarten photos]
* upcoming : Nov. 2011, Prague

===Konzept der hängenden Gärten: die Hydrokultur, Set===
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
===Hydrokultur: Wie funktioniert das?===
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

===<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>===
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Hängende Gärten

2011-09-26T15:18:02Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [https://picasaweb.google.com/frontierlab/GarathHangendeGarte photos]
* upcoming : Nov. 2011, Prague

===Konzept der hängenden Gärten: die Hydrokultur, Set===
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
===Hydrokultur: Wie funktioniert das?===
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

===<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>===
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Hängende Gärten

2011-09-26T15:17:42Z

Kydkydkyd: /* HÄNGENDE GÄRTEN v. BETA */

==HÄNGENDE GÄRTEN v. BETA==

A project that has been presented in:
* February 2011 - World Social Forum, Dakar Senegal [https://picasaweb.google.com/frontierlab/JardinSuspenduDakar photos]
* July 2011 - Desert Numerique Festival, St.Nazaire-le-Desert, France [https://picasaweb.google.com/frontierlab/JardinSuspendu2DesertNumeriqueFestival photos]
* September 2011 - Muellenkampf: Made in Garath Project, GarArt, Garath, Germany [[https://picasaweb.google.com/frontierlab/GarathHangendeGarte photos]
* upcoming : Nov. 2011, Prague

===Konzept der hängenden Gärten: die Hydrokultur, Set===
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
===Hydrokultur: Wie funktioniert das?===
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

===<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>===
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Hängende Gärten

2011-09-26T15:11:25Z

Kydkydkyd:

==HÄNGENDE GÄRTEN v. BETA==

===Konzept der hängenden Gärten: die Hydrokultur, Set===
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
===Hydrokultur: Wie funktioniert das?===
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

===<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>===
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Hängende Gärten

2011-09-26T15:10:38Z

Kydkydkyd: Created page with "=HÄNGENDE GÄRTEN v. BETA= ==Konzept der hängenden Gärten: die Hydrokultur, Set== Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig ..."

=HÄNGENDE GÄRTEN v. BETA=

==Konzept der hängenden Gärten: die Hydrokultur, Set==
Einen Anteil der eigenen Nahrung anzupflanzen, bereitet Vergnügen und stärkt gleichzeitig die Beziehung eines Menschen zur Natur.
Es ist auch eine der wirksamsten Maßnahmen zum Schutz der Umwelt.

Einzelpersonen, die in einem Netzwerk arbeiten und Informationen austauschen, befinden sich in einer besseren Position, eigene Designs zu entwickeln, die sich nach lokalen Bedürfnissen richten, und diese in die Wirklichkeit umzusetzen.

Das Ziel dieses Projekts ist es, weder ein perfektes Objekt, noch ein Produkt zu schaffen. Es geht mehr darum, dass jeder der Teilnehmer dieses Projekts einen grundlegenden Wert in dem kollektiven Experimentieren und der kollektiven Innovation erkennt.
 
==Hydrokultur: Wie funktioniert das?==
Unser hängender Garten ist ein System ohne Erde, mit Behältern.
Das Wasser und Flüssigdünger werden durch eine Pumpe vom Grund nach oben befördert. Aus kleinen Löchern in dem unteren Behälter, geleitet durch modifizierte Luftschlauch-Ventile, sickert das Wasser Tropfen um Tropfen, entlang jeder Kolonne von Pflanzen . 
Jede Pflanze befindet sich in einem kleinen Fach, das aus einer umgedrehten, halb abgeschnittenen Plastikflasche besteht. Ihre Wurzeln liegen in einer Halterung aus Kokosfasern, die wiederum einen luftdurchlässigen Korb mit kleinen Löchern beinhalten. Die Löcher gewährleisten die Wiedergewinnung und die Zirkulation des Wassers im unteren Fach.
Das überlaufende Wasser eines Fachs fließt durch den perforierten Deckel in das nächste Fach, und erlaubt auf diese Weise den Nahrungsstoffen, den Mineralstoffen und dem Wasser von einer Pflanze zur nächsten zu gelangen, von der Spitze jeder Kolonne bis zum untersten Behälter, vor der Wiederholung des Kreislaufs.

==<<R&D-I-Y>> und <<Ohne hierarchische Organisationen organisieren>>==
 Unser Garten integriert sich in das offene Projekt <<Window Farms>>. Wir arbeiten nicht nur nach bereits durch dieses internationale gemeinschaftliche Netzwerk entwickelten Ideen, sondern teilen auch gleicherweise unser Wissen, unsere Ergebnisse und finden Ressourcen und Informationen, die für unser Projekt nützlich sind.    Diese globale Plattform ermöglicht es den Bürgern durch ihre Zusammenarbeit und unter Benutzung verfügbarer Materialien, die am besten an die lokalen Besonderheiten angepasst sind, Neuerungen in Richtung nachhaltiger Städte einzuführen.
Dieses Verfahren wird<<R&D-I-Y>> genannt (auf Englisch <<Research & Develop It Yourself>> - <<Forsche und Entwickele Selbst>>).

Kyd Campbell

2011-09-26T15:07:41Z

Kydkydkyd: /* Sommer Semester 11 */

{{Template:User|Kydkydkyd}}
[[Image:Ropecam.jpg|right|thumb]]

kyd..at..frontierlab..dot..org

===Winter Semester 09/10===
* [[GMU:Space Is The Place/projects/In the direction of the frontier]]
* [[GMU:Follow The Green Rabbit/projekte#Kyd Campbell: missing looking 1: taubach]]

===Sommer Semester 10===
* [[EXPTV:Organising multi-media events: Mani.Fest III]]
**Werkmodul (BFA/MFA), led by Jr. Prof. Ben Sassen & K. Campbell
* [[IFD:Physical Computing]] - led by Jan Sieber
**[http://kydkydkyd.blogspot.com/2011/09/enteti.html ENTE_TI]
* Staging Knowledge - Prof. Herbert Lachmayer
* [[GMU:Breaking the Timeline/projects/TAPE]]

===Winter Semester 10/11===
*Praktikum : teaching video workshops to professional dancers in Dakar, Senegal with Trias Culture, media art group based in Dakar. I led workshops on recording video with basic digital cameras, editing with FLOSS software KDEnlive and theory based on experimental and intuitive film-making techniques pioneered by Stan Brakhage with a focus on using the camera as a new eye and extreme camera movements related to dance.

===Sommer Semester 11===
* beginning research for graduation project and working on:
** [[Hängende Garten]]
** Hello World design research

===Winter Semester 11/12===
* Graduation Project:.... - Final MFA project supervised by Prof. Damm & ....

[[Category:Student]]

Kyd Campbell

2011-09-26T13:30:37Z

Kydkydkyd:

{{Template:User|Kydkydkyd}}
[[Image:Ropecam.jpg|right|thumb]]

kyd..at..frontierlab..dot..org

===Winter Semester 09/10===
* [[GMU:Space Is The Place/projects/In the direction of the frontier]]
* [[GMU:Follow The Green Rabbit/projekte#Kyd Campbell: missing looking 1: taubach]]

===Sommer Semester 10===
* [[EXPTV:Organising multi-media events: Mani.Fest III]]
**Werkmodul (BFA/MFA), led by Jr. Prof. Ben Sassen & K. Campbell
* [[IFD:Physical Computing]] - led by Jan Sieber
**[http://kydkydkyd.blogspot.com/2011/09/enteti.html ENTE_TI]
* Staging Knowledge - Prof. Herbert Lachmayer
* [[GMU:Breaking the Timeline/projects/TAPE]]

===Winter Semester 10/11===
*Praktikum : teaching video workshops to professional dancers in Dakar, Senegal with Trias Culture, media art group based in Dakar. I led workshops on recording video with basic digital cameras, editing with FLOSS software KDEnlive and theory based on experimental and intuitive film-making techniques pioneered by Stan Brakhage with a focus on using the camera as a new eye and extreme camera movements related to dance.

===Sommer Semester 11===
* beginning research for graduation project and working on:
** Ha:ngende Garten
** Hello World design research

===Winter Semester 11/12===
* Graduation Project:.... - Final MFA project supervised by Prof. Damm & ....

[[Category:Student]]

Kyd Campbell

2011-09-26T13:13:48Z

Kydkydkyd: /* Sommer Semester 10 */

{{Template:User|Kydkydkyd}}
[[Image:Ropecam.jpg|right|thumb]]

kyd..at..frontierlab..dot..org

===Winter Semester 09/10===
* [[GMU:Space Is The Place/projects/In the direction of the frontier]]
* [[GMU:Follow The Green Rabbit/projekte#Kyd Campbell: missing looking 1: taubach]]

===Sommer Semester 10===
* [[EXPTV:Organising multi-media events: Mani.Fest III]]
**Werkmodul (BFA/MFA), led by Jr. Prof. Ben Sassen & K. Campbell
* [[IFD:Physical_Computing]] - led by Jan Sieber
* Staging Knowledge - Prof. Herbert Lachmayer
* [[GMU:Breaking_the_Timeline/projects/TAPE]]

===Winter Semester 10/11===
*Praktikum : teaching video workshops to professional dancers in Dakar, Senegal with Trias Culture, media art group based in Dakar. I led workshops on recording video with basic digital cameras, editing with FLOSS software KDEnlive and theory based on experimental and intuitive film-making techniques pioneered by Stan Brakhage with a focus on using the camera as a new eye and extreme camera movements related to dance.

===Sommer Semester 11===
* beginning research for graduation project and working on:
** Ha:ngende Garten
** Hello World design research

===Winter Semester 11/12===
* Graduation Project:.... - Final MFA project supervised by Prof. Damm & ....

[[Category:Student]]

Kyd Campbell

2011-09-26T13:13:14Z

Kydkydkyd: /* Winter Semester 11/12 */

{{Template:User|Kydkydkyd}}
[[Image:Ropecam.jpg|right|thumb]]

kyd..at..frontierlab..dot..org

===Winter Semester 09/10===
* [[GMU:Space Is The Place/projects/In the direction of the frontier]]
* [[GMU:Follow The Green Rabbit/projekte#Kyd Campbell: missing looking 1: taubach]]

===Sommer Semester 10===
* [[EXPTV:Organising multi-media events: Mani.Fest III]] – Werkmodul (BFA/MFA), led by Jr. Prof. Ben Sassen & K. Campbell
* [[IFD:Physical_Computing]] - led by Jan Sieber
* Staging Knowledge - Prof. Herbert Lachmayer
* [[GMU:Breaking_the_Timeline/projects/TAPE]]

===Winter Semester 10/11===
*Praktikum : teaching video workshops to professional dancers in Dakar, Senegal with Trias Culture, media art group based in Dakar. I led workshops on recording video with basic digital cameras, editing with FLOSS software KDEnlive and theory based on experimental and intuitive film-making techniques pioneered by Stan Brakhage with a focus on using the camera as a new eye and extreme camera movements related to dance.

===Sommer Semester 11===
* beginning research for graduation project and working on:
** Ha:ngende Garten
** Hello World design research

===Winter Semester 11/12===
* Graduation Project:.... - Final MFA project supervised by Prof. Damm & ....

[[Category:Student]]

Kyd Campbell

2011-09-26T13:12:45Z

Kydkydkyd: /* Sommer Semester 11 */

{{Template:User|Kydkydkyd}}
[[Image:Ropecam.jpg|right|thumb]]

kyd..at..frontierlab..dot..org

===Winter Semester 09/10===
* [[GMU:Space Is The Place/projects/In the direction of the frontier]]
* [[GMU:Follow The Green Rabbit/projekte#Kyd Campbell: missing looking 1: taubach]]

===Sommer Semester 10===
* [[EXPTV:Organising multi-media events: Mani.Fest III]] – Werkmodul (BFA/MFA), led by Jr. Prof. Ben Sassen & K. Campbell
* [[IFD:Physical_Computing]] - led by Jan Sieber
* Staging Knowledge - Prof. Herbert Lachmayer
* [[GMU:Breaking_the_Timeline/projects/TAPE]]

===Winter Semester 10/11===
*Praktikum : teaching video workshops to professional dancers in Dakar, Senegal with Trias Culture, media art group based in Dakar. I led workshops on recording video with basic digital cameras, editing with FLOSS software KDEnlive and theory based on experimental and intuitive film-making techniques pioneered by Stan Brakhage with a focus on using the camera as a new eye and extreme camera movements related to dance.

===Sommer Semester 11===
* beginning research for graduation project and working on:
** Ha:ngende Garten
** Hello World design research

===Winter Semester 11/12===
* [[Graduation Project:....]]- Final MFA project supervised by Prof. Damm & ....

[[Category:Student]]

Kyd Campbell

2011-09-26T13:11:14Z

Kydkydkyd:

{{Template:User|Kydkydkyd}}
[[Image:Ropecam.jpg|right|thumb]]

kyd..at..frontierlab..dot..org

===Winter Semester 09/10===
* [[GMU:Space Is The Place/projects/In the direction of the frontier]]
* [[GMU:Follow The Green Rabbit/projekte#Kyd Campbell: missing looking 1: taubach]]

===Sommer Semester 10===
* [[EXPTV:Organising multi-media events: Mani.Fest III]] – Werkmodul (BFA/MFA), led by Jr. Prof. Ben Sassen & K. Campbell
* [[IFD:Physical_Computing]] - led by Jan Sieber
* Staging Knowledge - Prof. Herbert Lachmayer
* [[GMU:Breaking_the_Timeline/projects/TAPE]]

===Winter Semester 10/11===
*Praktikum : teaching video workshops to professional dancers in Dakar, Senegal with Trias Culture, media art group based in Dakar. I led workshops on recording video with basic digital cameras, editing with FLOSS software KDEnlive and theory based on experimental and intuitive film-making techniques pioneered by Stan Brakhage with a focus on using the camera as a new eye and extreme camera movements related to dance.

===Sommer Semester 11===
- beginning research for graduation project and working on:
- Ha:ngende Garten
- Hello World design research

===Winter Semester 11/12===
* [[Graduation Project:....]]- Final MFA project supervised by Prof. Damm & ....

[[Category:Student]]

EXPTV:Start

2011-04-20T21:51:30Z

Kydkydkyd: /* PREVIOUS COURSES */

<big>'''Experimentelle Television (EXPTV) Wiki'''</big>

== NEWS & EVENTS ==
* Friday November 5th - Artist talk by media artist and documentary film maker Fred Baker - 18:00 @ Medienhaus Kino room, Steubenstr. 6a

*New Semester WS 10/11 BA Project announced - See [[EXPTV:3D AV-Movement.Media.Mutatus]] for further details.

*Mani.Fest III Photos [http://dpbauhaus.wordpress.com/2010/07/26/photos-2010/ Online]

== Experimentelle Television ==
[[Image:expsm.jpg|left]]

Die Juniorprofessur für Experimentelle Television der Bauhaus-Universität Weimar macht es sich zur Aufgabe, neue und experimentelle Ausdrucksmöglichkeiten und Formen zu schaffen, welche ihre eigenen Formate und ihre eigenen Möglichkeiten der Darbietung jenseits traditioneller Veranstaltungs- und Sendestrukturen begründen. In Bezug darauf konzentriert sich die Forschung und Lehre auf das Untersuchen der Veränderung und Weiterentwicklung des Fernsehens als ein Sendemedium im Zusammenhang mit der Produktion, der Verbreitung und dem künstlerischen Experiment. Die Professur legt das Augenmerk der universitären Arbeit auf : gesellschaftlich interaktive Medien und videobasierte Live-Performancekunst. Der Britischer Video- und Performancekünstler Ben Sassen leitet die Juniorprofessur der Fakultät Medien seit dem Wintersemester 2007.
 

''engl. description''

The junior professorship for Experimental Television focusses on creating new and experimental forms of televised expressions that establish their own formats and their own opportunities for performance beyond traditional event and broadcasting structures. Research and teaching work examines mutation and evolution of television as a broadcast medium with relation to production, distribution and artistic experimentation. The aim overall is to both propose and review new forms of televisual practice that will allow TV to remain useful and relevant as a form of entertainment and communication within a very rapidly changing media landscape. The professorship pursues these goals through two central streams of practice; socially interactive media and video based live performance art. British born video and performance artist Ben Sassen has lead the junior professorship for Experimental Television in the Media faculty since 2007.

Kontaktadressen

Prof. [[Ben Sassen]] 
Juniorprofessor Experimentelle Television, Fakultät Medien 
Bauhausstraße 15, Raum 202 
99423 Weimar 
T: +49 (0) 36 43/58-36 00 
F: +49 (0) 36 43/58-36 01 
E-Mail: ben.sassen [at] uni-weimar.de 
[http://web.uni-weimar.de/medien/wiki/index.php5?title=Special%3AAllPages&namespace=112 All Pages in the Namespace Experimentelle Television] in this Wiki

==PREVIOUS COURSES==

'''Winter Semester 2010/11'''

:Bachelor of Fine Arts 
::[[EXPTV:3D_AV-Movement.Media.Mutatus|3D A/V - Movement.Media.Mutatis]] (Projektmodul) Course Leaders: Prof. Sassen, Prof. Fröhlich, Alex Kulik 

'''Summer Semester 2010'''

:Bachelor of Fine Arts 
::[[EXPTV:Interactive 3D AV]] – Projektmodul (BFA), Schollmeyer, Fröhlich, Jr. Prof. Ben Sassen 
::[[Crossmedia Querfeldein]] - Werkmodul (BFA), Sassen, Lembke, Maage, Weise, Feddersen
::[[EXPTV:Organising multi-media events: Mani.Fest III]] – Werkmodul (BFA), Jr. Prof. Ben Sassen, K. Campbell 

:Master of Fine Arts 
::[[EXPTV:Community.Media.Identity]] – Projektmodul (MFA), Jr. Prof. Ben Sassen 
::[[EXPTV:Interactive 3D AV]] – Projektmodul (MFA), Schollmeyer, Fröhlich, Jr. Prof. Ben Sassen 
::[[EXPTV:Organising multi-media events: Mani.Fest III]] – Fachmodul (MFA), Jr. Prof. Ben Sassen, K. Campbell 

==PROJECT LINKS==
* [http://maa.cam.ac.uk/home/index.php?a=15&b=Prehistoric+Picture+Project+making+ancient+rock-art+visible&c=20 Prehistoric Picture Project] (with Cambridge University) - Press links [http://www.spiegel.de/wissenschaft/mensch/0,1518,703756,00.html here] and [http://www.independent.co.uk/arts-entertainment/films/prehistoric-man-went-to-the-movies-say-researchers-2018031.html here]
* [http://www.grenztaenzer.de Grenztänzer/Dokumedia] (with Deutsches Nationaltheater) - [http://salve-tv.net/web/de/webtv/webtv.php?videoID=4830 Press link]
* [http://medien-laden.de/ Medienladen]
* [http://www.bauhaus-manifest.com MANI.FEST]
* [http://www.uni-weimar.de/projekte/event/studiob/?p=10 L'Aquila Expedition/European Media Activism & Studio Bauhaus] (with Friedrich-Schiller-Universität Jena & Jena University of Applied Sciences) - [http://www.spiegel.de/unispiegel/wunderbar/0,1518,653697,00.html Press link]
* [http://www2.tu-ilmenau.de/worldopinion The Voice Of The People/Studio Bauhaus] (with Technischen Universität Ilmenau & St.Pölten University of Applied Sciences)
* [http://www.subinetv.blogspot.com SubineTV]
* [http://video-for-live-events.blogspot.com/ Rocket Festival/Video For Live Events]
{{Template:Help}}

[[Category:Experimentelle Television]]
[[Category:Ben Sassen]]
[[Category:Experimentelle Television]]
[[Category:Ben Sassen]]

EXPTV:Organising multi-media events: Mani.Fest III

2011-04-20T21:50:22Z

Kydkydkyd: /* Syllabus */

[[:Category:Werkmodul|Werkmodul]] 
''Lecturers:'' [[Ben Sassen]]. [[Kyd Campbell]] 
''Assessment:'' 6 [[ECTS]], 4 [[SWS]] 
''Date:'' Tuesday, 9:30 - 12:30 Uhr 
''Place:'' [[Bauhausstraße 15]], Projektraum 002 
''First meeting:'' Tuesday 2010-04-13

'''''MANI.FEST III is a class! Boost your art practice with a real professional process. Get practice, make a festival.'''''

==Course description==
[[Image:Manifest_sm_web.jpg‎|thumb|left|300px]]

Led by Prof. Ben Sassen & Kyd Campbell

'''class will be held in English''' 

In this Werkmodul students will learn about planning and promoting multi-media events. Working together as part of a team, they will plan the 2010 edition of the Mani.Fest. The Mani.Fest is an annual event offering artists from Weimar who work with media and performing arts a platform to present their work. The event takes place over one evening during the Bauhaus' Summary, and in previous years has featured dance, theatre and live electronic music performances. Building on the success of last year’s Mani.Fest media performance showcase, this year we will aim to continue developing the Mani.Fest brand whilst once again creating a top quality audio/visual live event with an exciting program of Weimar acts. (See [http://www.bauhaus-manifest.com MANI.FEST] for more details of last year’s event)

Students joining this Werkmodul will have the opportunity to gain practical experience in:

- Creating and managing promotional campaigns
- Working as part of an event production team
- Managing an event budget
- Installing equipment and technically producing live multi-media events
- Using video to document live events
- Booking and liaising with artists
- Organising and working with venues
- Managing relationships with sponsors

To make Mani.Fest 2010 happen we are looking for a range of students who are able to work in different roles, including: graphic design, PR and press work, artist liaison, managing sponsors, VJing, web design and team leading. If one of these sounds like the job you would like to do then come join us!

'''Deutsche Kurzbeschreibung''' 
Das Mani.Fest bot während des Medienganges 2009 zahlreichen Künstlern aus Weimar eine Plattform für audio/visuelle Live Performances. Auch in diesem Jahr soll das Mani.Fest wieder stattfinden und sich weiterentwickeln.

Dieses Projekt befasst sich mit den grundlegenden Anwendungen und Prozessen, die bei dem Organisieren und der Produktion von Live Performances und Medien Events notwendig sind. Das umfasst sämtliche Schritte von der Programmentwicklung über die Akquise von Künstlern und Sponsoren, die technische Vorbereitung und der Aufbau, die Ablaufplanung, das Marketing und bis hin zur Aufführung selbst.
 

'''MANI.FEST III team members:''' 
- Robert Dietrich 
- Sophia Gräfe 
- Cindy Leuther 
- Patrick Richter 
- Stephen Nolan 
- Dagmar Fella 

==Admission procedure==
Send [[Ben Sassen|me]] or [[Kyd Campbell|me]] by e-mail '''after''' the first meeting the following information:
* Full name
* Fachrichtung and Fachsemester
* Matrikel #
* Angabe der geltenden Prüfungsordnung
* Valid e-mail address

==Leistungsnachweis==

Students will take part in the multiple facets of producing the 3rd edition of MANI.FEST.

Each will be responsible for documenting a part of the process and submitting a written report describing the work they have done during the project and dritical reflections on the project, at the end. This report must be submitted within 2 weeks following the festival date.

==Eligible participants==
Enrolled BFA, MFA and diploma students of the faculties of media, Gestaltung and participants of the media-architecture program.

==Syllabus==
* '''13.04.10''' first meeting, kick off lecture
** REPORT: At this first class we introduced the concept of MANI.FEST and the current Weimar context for AV performance presentation. We looked at a number of artist examples, talked about some different festivals, including the Tiny Noise, and previous MANI.FEST events. We discussed the possibility of creating a context for artists to improvise together during the frame of the festivals, different venues, good time lengths for an AV event, and audience comfort vs. endurance.(k.c.)
* '''16.04.10''' 18h15 - public presentation on noise and sound art and passed MANI.FESTS
* '''20.04.10''' imagining our process
** REPORT: After a second overall introduction to the idea of MANI.FEST and the background of our team members, we agreed on using the media faculty's WIKI for our documentation and on the subscription in selected media art related mailing lists. We presented some of our favourite performances/performers like Candice Breitz, Gabriel Shalom, a Radiohead’s music video [http://code.google.com/intl/de-DE/creative/radiohead/ "House of Cards"], a performance by [http://www.youtube.com/watch?v=w2G3KfKbJwE Einstürtzende Neubauten] called [http://www.wega-film.at/?film_id=22-das-auge-des-taifun “Das Auge des Taifun”] and some video and audio from [http://www.youtube.com/watch?v=1woMEExMZXg&feature=related Suicide] and [http://www.youtube.com/watch?v=e-J8Rxfk6M8 Pan Sonic]. After this we described and looked towards all the steps of the project realization, listed resources and upcoming deadlines. According to this we discussed about our project’s funding/fund raising. In the middle of these considerations stood a precise discussion and attempt to define terms related to the art genre we will present within the context of MANI.FEST. [view](s.g.)
* '''27.04.10''' Funding and Press Release
**REPORT. During this weeks session we looked at media art (pre1979) and discussed our opinions on various works presented. We examined the creative fund guidelines and detailed points of focus for funding applications in general. We read our press release texts. For next week (an exercise in curatorial selection) we shall find a contemporary media performance work with detailed technical specifications. We will also explore Weimar for possible venues and work further on our press release.
**Works Discussed:
***'''Jud Yalkut''' [http://artforum.com/video/mode=large&id=22150 Beatles Electronique]
***'''Tvestroy''' (Danny Perreault and Thomas Ouellet Frederick) [http://www.youtube.com/watch?v=ZnhZjTeQ5wQ&feature=related Electrovideoacoustics]
***'''John Cage''' [http://www.youtube.com/watch?v=hUJagb7hL0E 4'33"]
***'''John Cage''' [http://www.youtube.com/watch?v=SSulycqZH-U Water Walk]
***'''Laszlo Moholy Nagy''' [http://www.medienkunstnetz.de/works/licht-raum-modulator/ Light Space Modulator]
***'''John Baldessari''' [http://www.dailymotion.com/video/x26pc_baldessari-teaching-a-plant-the-alp_creation Teaching a plant the alphabet]
***'''William Wegman''' [http://www.ubu.com/film/wegman_man-ray.html Man Ray, Man Ray]
***'''Philip Glass/Robert Wilson''' [http://www.youtube.com/watch?v=0zlgQfhTFBA Einstein On The Beach]
***'''Chris Burden''' [http://www.ubu.com/film/burden_selected.html Ad, Shoot]
* '''04.05.10'''
**REPORT: By searching for artists taking part in current festivals we found three interesting ones and studied their Tech-Riders. It's important to know exactly what we need and when we need it. We started to make a plan about every fact that's necessary to arrange a well working festival in time. Before every step the festivals identity must be clear to get in contact with artists, sponsors, press and audience. By open call we'll try to find artists. A central e-mail address is needed for Mani.fests authenticity.
**Works Discussed:
***'''[http://gudrungut.antyegreie.com/ Gudrun Gut & Antye Greie]''' >>>>> [http://www.media-loca.com/greiegutfraktion/techrider Tech-Rider]
***'''Artificiel''' [http://www.artificiel.org/POWEr POWEr] >>>>> [http://download.artificiel.org/pdf/artificielPOWEr-rider.pdf Tech-Rider]
***'''Monomatic''' [http://www.monomatic.net/peal/ Peal] >>>>> [http://www.monomatic.net/wp_main/wp-content/uploads/2010/03/Monomatic-PEAL-InfoPack-v2.pdf Tech-Rider]
* '''11.05.10'''
**REPORT: During this weeks session we looked at examples of advertising like flyers and books:
***[http://www.curatedby.at/index.html art&film curated by -vienna 2010], [http://www.itfs.de/ FESTIVAL OF ANIMATED FILM-ITFS],
**‚high culture‘ websites:
***[http://www.pelerinages.de pèleringes-Kunstfest Weimar], [http://www.roh.org.uk Royal Opera House], [http://www.nationaltheater-weimar.de Deutsches Nationaltheater Weimar], [http://www.thueringen.de/de/kulturell Freistaat Thüringen-kulturell], [http://portraits.klassik.com/Festival klassik.com], [http://www.orgelfestival-westfalen-lippe.de/ Internationales Orgelfestival]
**and also contemporary/‘cutting edge‘ culture websites:
***[http://www.soundframe.at SOUND:FRAME], [http://www.deutschestheater.de Deutsches Theater Berlin], [http://endpilot.de/ End Pilot Festival]
**We searched for possible venues, so we can check them as soon as possible and find the most suitable one. We also reordered and actualised the to-do plan and set up a PR plan for the 9 weeks before the MANI.FEST.

* '''18.05.10'''
** REPORT : we talked about what aspects we needed to include in a call for projects. We wrote the call. We looked at the current status of the graphic design. We prepared for a public workshop/launch of the call for projects.
* '''19.05.10''' : public workshop / launch of call for projects [[File:ManiFestIIIcall.pdf]]
** during the public open [http://freieklasseweimar.wordpress.com/ Freie Klasse] in Weimar, our group presented our call for performances and taught a workshop for artists about preparing portfolios and applications to festivals, exhibitions and residencies.
* '''25.05.10''' : working day : PR, PR, PR (+ sponsorship & partnership), website
* '''01.06.10''' : finding artists, setting venue, sponsors/partners
* '''08.06.10''', '''15.06.10''', '''22.06.10''', '''29.06.10''', '''06.07.10''', '''13.07.10''' : team production (see detailed reports below)
* EVENT DATE (18.07.10)

==Upcoming / Related==

* 2nd of June 7 pm, '''Gabriel Shalom''' talks in rm.204, M7

* [http://www.transfera.es Transfera] - TV show about experimental video art and AV works (on Canal Autor channel - Orange & Euskatel, Friday nights from Madrid, Spain)
* [http://www.filmladen.de/dokfest/aktuelles/ Kasseler Doku Fest] - film and video art festival, 9>14 Nov. 2010
** [http://www.filmladen.de/dokfest/ausschreibungsunterlagen-27-kasseler-dokfest/ call for projects] - deadline July 19, 2010
* [http://www.natural-fiber.com/cellsbutton Cells Buttons] - Yogyakarta International Media Art Festival, Indonesia - 27 July > 7 August 2010
** call for projects, deadline: May 25, 2010
* [http://mappingfetival.com Mapping Festival] - 6 > 16 May, Geneva, Switzerland, VJ festival
* [http://eletrafestival.ca Elektra Festival] - 5 > 9 May, Montreal, Cananda, international digital art festival, BIG technology.
* [http://www.nkprojekt.de/ NK project, Berlin] - sound space, upcoming: May 8th, Art Kill Art Label Night

==Resources==
* [http://on-curating.org/ On Curating] new magazine about curatorial practice
* [https://www.jiscmail.ac.uk/cgi-bin/webadmin?A0=new-media-curating New Media Curating] mailing list and research network
* [http://www.crumbweb.org/ CRUMB - Curatorial Resource for Upstart Media Bliss]
* [http://bandcamp.com/ Band Camp] - site hosting musicians pages from all over the world, free listening & downloading
* [http://www.bedeutung.co.uk Bedeutung] - EBOOK library & magazine, great readings!
* [http://endpilot.de/2009/index.php?navi=broschuere End Pilot production How-to] - video and brochure about how to put together a festival, produced by Plastic Cut during the End Pilot Festival (Erfurt)

==Artists presented in class==
[[Image:Tn_prez_strip.jpg‎]]
* [http://www.myspace.com/justiceyeldham Justice Yeldham] - (AU) Glass, contact mics, etc.
* [http://www.poemproducer.com AGF] - (DE) voice, poetry, electronic music
* [http://www.andregoncalves.info/ André Gonçalves] - (PT) arduino, electronics, household objects
* [http://www.pascsaq.org/ Pascale Gustin] - (FR) voice, poetry, electronics
* [http://www.lappetites.com/ Lappetites] - (INT'L) eletronic orchestra
* [http://www.autopoiese.org/ Joachim Montessui] - (FR) found footage, electroacoustic
* [http://www.nault.ca Line Nault] - (CA) dance, electronic objects, video feedback
* [http://t-o-f.info/tvestroy/ Danny Perreault + Thomas Ouellet Fredericks] - (CA) electric feedback, pure data, televisions, stroboscopic effects [http://vimeo.com/10660457 high quality video documentation]
* [http://vivapunani.org EVOL] - (ES) computer music & air horns
* [http://homepage.mac.com/shingo_inao/ Shingo Inao] - (JP) sensors, electronics, computer music
* [http://www.hentschlager.info/ Kurt Hentschlager] - (AT/USA) Immersive Audiovisual Environments
* [http://www.hamsadesign.com/vidfilm/JudYalkut.html Jud Yalkut] - (USA) experimental cinema, intermedia, installation [http://www.dailymotion.com/video/x7n2vm_nam-june-paik-yalku-jud-beatles-ele_shortfilms video collaboration with Nam June Paik]
* [http://www.vasulka.org the Vasulkas]
* [http://www.vasulka.org/Kitchen Kitchen Archive] (USA) - 1971-1973 An Image and Sound laborator founded by the Vasulkas in New York

==Links==
* [[Audiovision Linkliste]]
* [http://bauhaus-manifest.com MANI.FEST]]
* [http://myspace.com/mani_fest myspace Mani.Fest]
* other related courses:
** [[GMU:Breaking the Timeline]] - [[Max Neupert]]
** [http://seam.hfm-weimar.de/wiki/doku.php?id=lehrmaterial:popp:dialog_auge_ohr Dialog für Auge und Ohr, Sommersemester 2010] - [[Constantin Popp]] (HfM)

[[File : 2010callsm.jpg]]

= PROJECT DOCUMENTATION, PROOFS & CRITICAL COMMENTARY 2010 [[File : manifest_cogg.jpg]] =

[[File : manifest_cogg.jpg]]
=Sophia Gräfe (final semester BFA)=

===General comment===

Under the direction of Associate Professor of Experimental Television, Ben Sassen, and
Kyd Campbell curator / artist I was involved in the Mani.fest III event.
My main focus here was the press and public relations of the small
Media arts festival. I planned in cooperation with the other student team members
and led the integrated and comprehensive communication and publications of the Mani.fest
III event not only in the target group of Mani.fest III, but also the summaery 2010th event.

==Project Responsibilities==

===Editorial===
Building on previous Mani.fest events I developed a presentation text in consultation with the 2010 team Mani.fest. I developed the call for artists submissions. Working closely with the designers of Mani.fest III I planned the structure and operation of the website and wrote the web texts.

I also helped the preparations for the event with advertising and Documentation texts in the form of press releases. These were communicated to the public through the website Mani.fest III, facebook and myspace profiles, the Piazza, the Faculty of Media communications department, the central press office of the Bauhaus University of Weimar and the organization summaery 2010. I Also edited micro-texts, which were needed in other areas.
I conceived and edited the brochure for manifest III which was publicly available. After the event I wrote a press review for the arc, the University Journal of BU Weimar. I wrote the texts in German and mostly in English.

===Communications===
The successful communication of Mani.fest III to the public was a gradual and long-term procurement
involving several steps. In addition to building a public web presence there was a progressive intra-university presence of Mani.fest III. on the university information platform “Piazza” which was
under my leadership. In cooperation with the Mani.fest III team, I accompanied two pre-events of
Mani.fest III that enhanced the profile of Mani.fest III in Weimar’s city center in the eyes of our target audience, Joe Public.
The second pre-event I conducted in collaboration with the team as a press conference by. I invited representatives of the press, during the pre-managed events, conducted interviews and gave out press kits. I built a self-researched, personal and extensive mailing list to promote the Mani.fest event.
In advance of the event I intensified communication of Mani.fest with frequent posts on the piazza and i Organised and implemented flyer and poster distribution in Erfurt, Jena and Weimar.
On the weekend before the event Mani.fest I went with my team in Baroque costume and distributed according to the pre-event strategy flyers in Weimar’s city center. Also I initiated and mediated the contact between the Mani.fest III event with the summaery 2010 Organization and other institutions. I also sent promotional material to the Artists of Mani.fest III.

On the day of Mani.fest III event, I interviewed several artists for the documentation of the program.
During the event I attended Mani.fest III Members of the media and gave interviews to interested media.
I also helped with the recording of Mani.fest III team meetings.

===Advertising===
In Addition to the multiple presences on the net, I achieved coverage in the regional daily newspapers. I was able to use the reputation of the University communication and press department of the Faculty of Media to help further our coverage and success in gaining press interest. This included the placement of one banner on the main page of the BU Weimar, a date entry on the main page and on the faculty pages, and integration into the extensive summaery - advertising BU Weimar, and in particular the website of the summaery 2010th. In addition, I communicated on varied topics, both of specific concern and general interest (ie: Artist Submissions) within the cultural community of the Mani.fest III event.

===Planning===
Besides my main task of public relations, I worked in Cooperation with the Mani.fest III team in planning the event. I discussed with my colleagues, the concept and objectives of our work for the Weimar Media art scene, laid down dates and deadlines, helped with the ideas of the other Work areas, such as graphics and video design. I also researched possible venues for the event and secured the AUDIMAX for the event.

===Organisation & Implementation===
In the main - the organization phase, I coordinated the guest team and partner list and the Invitation of the Japanese media artist Shingo Inao. I made my apartment available as a storage location for the event equipment. I also tried to secure sponsorship for the catering. On race day, I took temporary jobs at the venue. During the Mani.fest III event, I took care of the cash register, entry and bar, financial and supervisory aspects. On the very evening I counted the takings for the event.

==Critical Comments==

My involvement in Mani.fest III project was exciting and challenging. Whilst it was an established festival and the program and organisation of the festival was weak, through consistent and inspiring strategies our PR activities made up for other areas of weakness. On the university level I developed very good relations that brought broad support and a high awareness of the event. I Also succeeded to motivate visitors to come to the Mani.fest III event, despite the entrance fee which can often deter student attendance and despite the event being at the end of a long summaery weekend.

Also my press work saw exposure thüringen wide, not only with informative, but also journalistic content. Mani.fest III was increased by my efforts as one of the highlights of the summaery event and also considered as advertised by the university.

Also, I succeeded in interviews with press representatives to portray Mani.fest III in a positive light despite my concern for the quality of the performers.This was as the greatest challenge for me as in my estimation the project Mani.fest III had a serious quality problem rooted in the few and inadequate submissions submitted. In addition, i believe the overal concept, design and pre-events were weak which made it difficult to promotte. To improve the interaction of the individual sections of the team i think it would be wise to select team members based on interest and ability rather than open submission with the aim of creating an uncompromising event.

===Links===

Mani.fest III Website
www.bauhaus-manifest.com

III Mani.fest facebook page
http://www.facebook.com/bauhaus.mani.fest

Mani.fest III Myspace Page
http://www.myspace.com/mani_fest

Mani.fest III Piazza Posting - Selection
http://www.uni-weimar.de/cms/aktuell/pinnwaende/piazza.html

Summaery 2010 Website
http://www.uni-weimar.de/summaery/2010/

===Appendix===

I Press Releases

Press release I Mani.fest III Long Night of Museums @
Press Release II Press invitation - Event Mani.fest III
Press - Mani.fest III announcement 18th July 2010
Press release on summaery 2010, the Bauhaus - Universität Weimar

II Texts

Konzept-/Präsentationstext
Specification plus Banner

III program

IV newspaper articles on mani.fest III event in regional dailies

TLZ, local section, p. 4, 3 column, 1 image, 6/26/2010, “Cheer up: New Art in Old Kriolinen - media students at the
Search for new audiences “
TLZ, p. 1 jacket, 2 columns, 07/09/2010, “young art scene presents itself - Mani.fest III summaery in the lecture hall”
TLZ, local section, page 2, column 4, 1 image, 20.7.2010, author: Charles Brown, “We are making serious art”

TA local section page 4 Short Message, 29.5.2010, “Baroque-media-art”
TA local section p.3, 06/26/2010, “New Art in courtly disguise”
TA local section page 3, 3 columns, 1 image, 20.7.2010, author: Charles Brown, “New flavor intelligence”

Südthüringen Online, 18/07/2010, “Experimental stage art of Bauhaus students” - not
availabilities

Article IV in the special form “summaery 2010"

[[File : manifest_cogg.jpg]]
=Cindy Leuther (2nd semester BFA)=

==Project Responsibilities==

*- Joined the meetings.
*- Searched for venues and contacted them (MonAmi…)
*- In charge of the costume shop most of the time
*- Participated in every pre event and shootings wearing the costume (Lange Nacht der Museen Pre-*event)
*- Arranged the press pack, printed flyers, stickers and cd covers
*- Printed and sliced flyers for ‘Lange Nacht der Museen’
*- Spread lots of flyers at the pre events
*- Spread 30 posters and 400 flyer in Weimar and Jena before the main event
*- Started the work plan
*- contacted the stuff for Sunday
*- Printed copies of the working plan, technical plan and telephone lists
*- Helped with the stage management
*- Organised and got the technical stuff from the media point (at the venue and pre events with the **costumes)
*- Built up stuff for the stage, backstage and bar
*- looked after the artists backstage (during the show)
*- Helped to clean up the audimax on Sunday and Monday

==Critical Comments==

In the beginning it looked like we would never be prepared in time for the event. Preparations were proceeding very slowly. We engaged in media related theorethical discussions around a framework of selected artists and events. This in retrospect was quite good but to get a little more understanding of what our featured artists do on the stage. I gathered a lot of experience and am glad to have taken part in this course, even if it was at one time or another a little stressful. The teamwork has worked up to a few exceptions, very good, which has saved me personally a couple of sleepless nights.
During the first theoretical meeting, Ben Sassen was present and taking part in our course however, soon Kyd Campbell took the lead of the course. During the preparations for the event the team had hardly any contact with Ben so I can not comment on his contribution to the project. Kyd provided a lot of support during the whole process and directed or tasks professionally. She was always there when you needed help or had questions. Without her it would have been a lot harder to put on the event.

Communication methods were a cause of some stress. It might be better to communicate another way. Although it has all worked out very well by e-mail, there was a lot of confusion along the way. Email and goolgle docs are a good comunication tools but perhaps something else could be used to affect more reliable communications, so we can be sure that messages are recieved etc.

[[File : manifest_cogg.jpg]]
=Stephen Nolan (1st semester MFA)=

==Project Responsibilities==

===Press Release Ideas===
Developed ideas for press releases aimed at radio and webzines. The goal was to relate media art to topics already in the public domain like sustainability, surveillance games and hygiene. I developed two press releases.
1:Manifest 111 in Pythagorean style
2:Media Art Performance, Facebook, The Nintendo Wii, The iPhone and your Toothbrush.

===Research===
Researched liberal and conservative festivals as a comparative study with the aim of understanding how to position the manifest event. The liberal festival I chose was http://modisti.com with a mix of contemporary and historical presentations that matched the Manifest goal of placing new media in established settings.
The conservative was a historical clarion festival whose presentation was very formal. We also researched tech riders. We spoke about the qualities of a good and bad tech rider and developed criteria that we would follow when assessing our applicants riders. We each presented a tech rider we thought was good. I chose Peal by monomatic.

===The wiki===
Placed minutes on the wiki.

===Development of Creative Text===
Helped to finalise the creative text with editorial suggestions.

===Business Cards Production and Distribution===
Developed with Robert and Dagmar the Business Cards. This involved a detailed development of the text with several reviews and rewrites before the final product was realised. The Bilingual cards in English and German necessitated careful translation to ensure the same vibe and intent was communicated in both languages. The reason for using English and German was to to reflect the international aspect of Weimar and Manifest. I Worked closely with Robert on the design. Printed and cut the cards and distributed them in cafes and venues around the city. The cards were printed in English and German. They were also handed out on the night of the museum event.

===Self-Promotion for Artists===
Worked with Dagmar and Kyd in developing and presenting a workshop aimed at potential Artists. This involved a presentation at the Mani.fest Workshop @ Freie Klasse. The workshop covered topics such as artist documentation, artist application procedures and the art of selling yourself to festivals.

===Press Pre-Event===
Following the design of the original website Robert worked on, we developed a historical context in our promotions in order to mirror one of Manifests goals, that of placing works of media art in the minds of a wider audience. Out of the subcultural haunts and into the mainstream mindset.
We staged two events, the first was a photo shoot in the Park. We employed the park as stage andwore period dress and held laptops and mics etc in contrast. This was developed further in the animations for the website.The photos were used as advertising for the project and proved very successful at gaining interest from the wider public.

===PressPack===
I developed the idea of a mask in the style of a ballroom mask, again connecting with the historical weimar and making 3D glasses with them to be used in a press pack. I developed two proto-types.

===Application Management===
I took responsibility for dealing with applications that came into the email account. I responded to all applicants and requested more information where necessary. I set up a spreadsheet so as to easily see what we had and what we needed from the artists. We also used the spreadsheet to voice opinions of the work, whether we liked it etc.

===Communication===
I made contact with SEAM and arranged a meeting with Constantine in order to discuss the partnership with SEAM. Issues to be discussed were sound system and insurance.

==Critical Comments==

As a student led initiative students access to the budget was through the teachers. What was an acceptable expense? Should the treasurer be student or teacher? In terms of experiments in success and failure the potential to learn from these kinds of decisions was coloured by the fact that the treasurer was a teacher.

Communication was largely text based which was the cause of some misunderstandings. The collaborative relationship was strong in the group. It was my first experience of an event management project of this scale and overall I found it a very rewarding thing to do. I learned a lot that I can apply to my own practice.

[[File : manifest_cogg.jpg]]
=Patrick Richter (2nd semester BFA)=

==Project Responsibilities==

===Videos===
*Trailers (2D, 3D, 2 Paintings, 1 Artists trailer)
*7 Showvideos
*1 Show DVD programming

===Social Networking Myspace===
*Website Design
*Friends adding and caring
*Bulletin postings
*Updates on myspace blog and site
*Uploading and posting photos, making slideshows
*Sorting photos by event year
*Update new and special myspace videos
*Creating a new event
*Sent out mainevent invitations to all friends in the list

===Facebook===
*Managing and maintaining friends
*Building contact to Shingo Iano
*Bulletin postings
*Uploading and posting photos
*Uploading videos
*Sent out mainevent invitations to all friends in the list

===Pre-Event===
*Taking about 150 photos in Goethe Park of Dagmar, Cindy & Stephen in costumes
*Record video footage for an eventuel trailer

===Press-Event===
*Designed carneval 3D masks
*Animating & editing two videos of moving paintings
*Acting in costume showing our trailer
*Taking photos for documentation and upload it to social networks

===Flyer-Event===
*Acting in costume handing out our flyers

===Flyers===
*Spread about 400 flyers in cafes and bars in central Erfurt

===Venues===
*Gathering information about these venues and contacting responsible persons:
* Reithaus
* Zeughof
* DNT
* Audimax

===Technics===
*Updating the list of technical needs of each artist
*Contacting artists for missing tech riders
*Getting in contact with STUKO to reserve technics

===Photos====
* Audimax
* Press-Event
* Pre-Event

===Show===
*Explored the venue
*Took photos for video concept
*Meeting with christian hellmann to discuss the venue design and video relations
*1 week of editing and animating video tracks for the show
*Got thoska access to audimax
*Spent 3 days getting used to the audimax technical issues (dvd-player, screen, light, windows, beamer, switchings between input sources)
*Conceived dvd structure for the show
*Contacting Marcus Schlaffke to solve DVD player problems
*Creating final show DVD including our partners list
*Carrying technics to audimax
*Building up the stage
*Solved technical problem of artist (getting David Schornheims videos to work)
*Worked on an introduction sound for the start up video together wth Shingo
*Solved DVD player problems with Marcus Schlaffke
*Conceived Bikecores videoshow on visualizer, rehersed and performed during her show
*Connecting artists to the control panel of the audimax
*Editing video for umbrella projection
*Set up working umbrella projection
*Adjusted beamer for a better video result
*Rehersal with shingo to synchroize his audio to my video intro
*Running the interlude videos between the performances and controled projections on control panel

[[File : manifest_cogg.jpg]]
=Robert Dietrich (2nd semester BFA))=

==Project Responsibilities==

*Poster artwork
*Flyer artwork
*Website design and maintaining
*Design of press releases and letterheads
*Stagehand work before, during and after festival
*Translation and contact to german-speaking staff
*Insurance effection

==Critical Comments==

Mani.fest III is an extraordinary international art festival. With nearly no budget but highly enthusiastic staff willing to do what ever it takes- it was a unique experience. Providing a professional public platform fro new media interdisciplinary performance art in weimar with most of the project members being non-professionals required everyone to do their
best.

Nevertheless, I would like to propose certain improvements for the up- coming Mani.Fests. First, the search for an appropriate framework of the Mani.fest should be a major priority. I considered the Audimax not to be a suitable venue for a cutting edge performance art festival, due to its technical limitations (non-existing drape) as well as the sobriety of its interior design.

The search for artists should be extended. Publishing the call for propos- also soley on the web doesn’t create enough attention for Manifest as you could tell by the fact that we haven’t been flooded with applications and even extended the time frame for proposals. Publicity especially towards possible artists could be achieved with extra call out posters ondisplay in university hot spots, local galleries etc.

==Work Space: Project Notes ==

===Intro Texts===

Sophia Gräfe
MANI.FEST 2010
Das Multi-Media-Event MANI.FEST erfährt zur Summaery 2010 seine dritte Ausgabe. Als großformatige Abendveranstaltung präsentiert MANI.FEST aktuelle herausragende Medien- und Performancekunst im Umfeld der Bauhaus Universität Weimar mit internationalen Rang. Organisiert von einem studentischen Team der Fakultäten Architektur, Medien und Gestaltung unter der Leitung des Juniorprofessors für Experimentelle Television Ben Sassen und der freien Kuratorin und Künstlerin Kyd Campbell, wird MANI.FEST Vorzeigeprojekte aus dem Bereich der experimentellen Video- und Klangkunst dem Weimarer Publikum zugänglich machen. Basierend auf den Erfolg unserer Veranstaltung aus den letzten zwei Jahren möchte MANI.FEST 2010 zudem in gleichbleibend hoher Qualität junge Vertreter unkonventioneller und neuer Kunstformen eine Plattform zur Aufführung ihrer Arbeiten bieten und die Stadt Weimar als Produktions- und Spielort medialer Gegenwartskunst etablieren.

===possible venues===
capacity > 200 people

* Mon Ami - large theatre (Cindy will check out the theatre)
**bar services, lights, good location, central
* Volkshaus (near to Ewerk)
* Audimax, in Library building (would need to find a space design - maybe too steep)

* HfM room in Coudray Str., offered by SeaM, 50 person capacity

==Not Available / Not Selected==
* Reithaus (Cindy will check out the theatre) - not available that date
* Deutches National Theatre, Theatre Platz (check), practice stage - not available due to theatre holiday all July
* Bauhaus Museum (too small)
* Belvedere (check out the Musik Gymnasium + actual Belvedere buildings - maybe too far)
* [http://web.uni-weimar.de/medien/wiki/images/Venues_Zeughof.pdf Zeug Hof] (behind Bauhaus Museum, might be too small, pre-event? Patrick called the organizer Dan Thompson) pretty small, would have some rental cost
* Viehauktionshalle (contact Konsum Weimar for info, maybe too large, right profile?)
* Gym in Jakobsplan
* Gauforum stage
* Weimarhalle (tiefgarage? salle2 - maybe too steep)
* Ottmar Gerster hall (check, no stage, historic space, no hanging) - was the location from the first year
- - -

===possible sponsors===

===possible publicity venues===
'''local events we can promote at:''' 

ab 12.-25. Mai Glaxbox, Gaswerk Weimar u. A.
(glasconstructions will be placed in various locations round weimar. there will be projections on the windows)
Glaxbox 2010 und dessen Vorbereitung gliedert sich in fünf Aktionsschwerpunkte.?
Themenbezogene Aktionen / Workshops 12.-25.Mai 2010?
Aktionen in der Stadt Weimar 28.-30.Mai 2010?
Ausstellung / Performance 31.Mai-13.Juni 2010?
[http://www.schwansee92.de/blog/?p=335 Konzert / Openstage] 11.-13.Juni 2010?
Dokumentation Buch / Internet

29 May, Lange Nacht der Museen 

03. Juni, Uni-Campus Bauhaus
[http://www.uni-weimar.de/cms/aktuell/tag-im-land-der-ideen/programm.html Energie.Experiment.Erlebnis] - Programm zum Tag im Land der Ideen (Bauhaus-Idea_development-exhibition-day; concerts and presentation of media-art pieces)

[http://www.schwansee92.de/blog/?p=343 Salon Pink] 18. Juni, 16. Juli?
(Artevent on every 3rd friday of the month in the gaswerk weimar)
Jeden 3. Freitag im Monat findet eine Salon-Veranstaltung/ Vernissage statt, welche die dazugehörige 7-tägige Ausstellung eröffnet.

25.-27. Juni, Reuth, Vogtland
[http://www.stelzenfestspiele.de/ Stelezenfestspiele bei Reuth] (a best-quality experimental music festival in the middle of nowhere)

12.-19. Juli Diplomausstellung FK /Examensausstellung LAK, Kulturbahnhof Jena (studentexhibition in Jena)

SYNAE - licht:klang:raum:bild
(Mediaart-Festival in the Gaswerk Weimar)
http://www.schwansee92.de/blog/?page_id=252

15.-18. Juli, Rundgang BUW (!)

'''local press partners:''' 
internal University Press offices 
'''online publicity venues:''' 
'''international publicity venues:''' 
'''contacting artists'''
[http://freieklasseweimar.wordpress.com Make a workshop on artist self-promotion in the Freieklasse Weimar, 16-23 May] 

===working partners===

Department of Electroacoustic Music

Media Faculty

==WORKING TIMETABLE (in progress)==

*'''BASICS'''
- define and describe the event's identity (its goals, audience, content) - write a 'mission statement' text - decide whether the event will have a specific thematic or not

- fix the date - research open local dates, do not coincide with another local event - connect with the Summer Rundgang, Summaery - Sunday night? - define the time of night (start time) - possibility for shared planning with other local events and shared promo (ie with Summaery)

Create overview of all tasks that need to be done to make the event happen ( a 'road map')

- divide different tasks between different group members (make teams)

*'''PR'''

'''-- In General:''' - visit relevant events in town and promote the Mani.Fest (e.g. long night of the museums - may 29th)

'''--- week 0''' (begins 10/5/10) 
make a press plan/time schedule (Done: you're reading it!)

'''--- week 1''' (begins 17/5/10) 
- share a workshop: how to apply to a festival (cv, documentation, proposal writing) 
- coinciding with our event's submissions deadline 
- make contact with press partners (Medien Faculty press agent Antje Kahn, central University press office (UK) in Rektor's office, Summaery press team, mediengang team) 
- design visual branding plan 
- make a call for projects flyer 
- set up a project email account so people can get in touch with us (done: gmail account) 
- have info ready online specifying the submission procedure 
- explain why we collect so much info, bio, tech setup, concept, image links etc. 
- let people know that our platform (the festival) is available 

'''--- week 2''' (begins 24/5/10) 
- activate our online social networks (myspace, facebook etc.) 
- new website online, good URL - appropriate design 
- brand design drafted 
- write press text 

'''--- week 3''' (begins 31/5/10) 
- press text finished 
- defining our target audience: 
what media reaches this audience? 
tv, radio, radio lotte, NDR, antenna thuringen, sputnik,
local newspapers, student magazines, MDR tv, unicato 

'''--- week 4''' (begins 7/6/10) 
- artists chosen 
- design event flyers & poster 
- start press pack design 
- Print press List + Contact, Deadlines - international + locally based ones (erfurt based Copymag, intro magazine) 
- find/contact online magazines and blogs + Contact, Deadlines 
- first video trailer 

'''--- week 5''' (begins 14/6/10) 
- make a press pack 

'''--- week 6''' (begins 21/6/10) 
- press conference (maybe combined with pre-event) well related to the atmosphere of our event 

'''--- week 7''' (begins 28/6/10) 
- arrange interview with artists + press (in collaboration with Artist Management team) -> June 25th 
- (2nd video trailer) 
- pre-event fotos 

'''--- week 8''' (begins 5/7/10) 

'''--- week 9''' (begins 12/7/10) 
- MANI.FEST !!-

*'''Event Direction/Organisation (Management/Accounting/Legal/Human Resources/Sponsoring)'''

Set tasks for all groups involved in the festival based on 'road map' document

Lead weekly meeting of all event participants and keep overview of tasks progress in relation to 'road map' schedule

- connect asap with our partners in HfM - get the technical list (what is available) form the HfM and the venues
- make the link with the Summaery & mediengang groups, become part of their program

deciding how long the event should be - 100 min?, break? how much can the audience handle - do we want - selecting the event atmosphere (bar/party setting, formal music concert…)

- think about how much budget have/need for each part of the event's production (and overall)

- define our insurance needs - shop for insurance

- GEMA music licensing fees (negotiate with artists & venue)

- define our additional staffing requirements
technical team (to work with us at the event)
general helpers (to work with us at the event)

*'''Sponsoring'''
- ???

*'''Managing Artists'''
decide how we will our artists:
open call
local research/knowledge of artists
direct invitations to known artists

- Decide how many artists we will need (how long the event is, how long each performance should be)

- Write description of the sort of artists/work we are looking for (developed from 'mission statement') - do we choose pre-made performances or ask artists to make new ones for our topic? both?

- brainstorm inspiring info on the topic to be used for inspiring artists and conveying our overall concept

- research and make connections with related courses, for finding artists (and technical +other helpers)

- provide some idea material for inspiring artists to apply to the open call - make some presentations in courses, or directly to some possible artists

- be prepared to convey the scale and quality level of the event to the artists

- explain the decision process

- ask professors for recommendations of students

- Set deadline for all artist submissions (if using open call)

- Set deadline for selection of artists

- Choose main artists for event program and one or two back-up options in case they are needed
- consider the artists in relation to the venue (will the artists fit practically into our venue)
- consider how the artists will fit together in a program

- Contact chosen artists

- get bio/profile info on the artists

- arrange interview with artists + press (in collaboration with PR team)

- set up soundchecks (in collaboration with Event Production team)

*'''Finding A Venue'''
defining the criteria for the venue (how big must it be, what facilities must it have, what is our budget for venue hire, on what dates would we like to use the venue, how does the location fit with our brand and target audience)

research venue options in local area

visiting venue options

select one or two venue options and begin negotiating a deal

make a final contract/arrangement with the venue

think about pre-event venue

*'''Main Event Production'''
- get technical riders from artists (in collaboration with Artists Management team)

- define list of equipment required for the event

- find resources for obtaining the equipment (hire, buy, borrow etc - is there a technical budget)

- designing the technical setup (how will the equipment be connected together and where will it be in the venue)

- designing the space (decoration) - having seating in the venue (at least 200 seats) - do we need tables (cabaret style?) - where does everything need to go in the venue

- consider practical aspects (tables for selling tickets, staffing and supplying the bar, licensing, toilet paper...

- transport of equipment

- set up soundchecks (in collaboration with Artists Management team)

*'''pre-event planning'''
to promote
to present additional works
how connected should it be to the main venue

*'''Documentation of our event''' 
- Patrick + camera team???

==Expenses/Budget==

small giveaways 150 stueck (30 A4 sheets) costs: 1,50 euro

short information sheets 120 stueck (30 A4 sheets) costs: 1,50 euro

renting costumes for promo "lange nacht der museen" costs: 45,00 euro

insurance for sound system during event cost: 230,00 euro

[[Category:Ben Sassen]]
[[Category:SS10]]
[[Category:Performance]]
[[Category:Event]]
[[Category:Experimentelle Television]]
[[Category:Ben Sassen]]
[[Category:SS10]]
[[Category:Performance]]
[[Category:Event]]
[[Category:Experimentelle Television]]

EXPTV:Organising multi-media events: Mani.Fest III

2011-04-20T21:49:50Z

Kydkydkyd: /* Syllabus */

[[:Category:Werkmodul|Werkmodul]] 
''Lecturers:'' [[Ben Sassen]]. [[Kyd Campbell]] 
''Assessment:'' 6 [[ECTS]], 4 [[SWS]] 
''Date:'' Tuesday, 9:30 - 12:30 Uhr 
''Place:'' [[Bauhausstraße 15]], Projektraum 002 
''First meeting:'' Tuesday 2010-04-13

'''''MANI.FEST III is a class! Boost your art practice with a real professional process. Get practice, make a festival.'''''

==Course description==
[[Image:Manifest_sm_web.jpg‎|thumb|left|300px]]

Led by Prof. Ben Sassen & Kyd Campbell

'''class will be held in English''' 

In this Werkmodul students will learn about planning and promoting multi-media events. Working together as part of a team, they will plan the 2010 edition of the Mani.Fest. The Mani.Fest is an annual event offering artists from Weimar who work with media and performing arts a platform to present their work. The event takes place over one evening during the Bauhaus' Summary, and in previous years has featured dance, theatre and live electronic music performances. Building on the success of last year’s Mani.Fest media performance showcase, this year we will aim to continue developing the Mani.Fest brand whilst once again creating a top quality audio/visual live event with an exciting program of Weimar acts. (See [http://www.bauhaus-manifest.com MANI.FEST] for more details of last year’s event)

Students joining this Werkmodul will have the opportunity to gain practical experience in:

- Creating and managing promotional campaigns
- Working as part of an event production team
- Managing an event budget
- Installing equipment and technically producing live multi-media events
- Using video to document live events
- Booking and liaising with artists
- Organising and working with venues
- Managing relationships with sponsors

To make Mani.Fest 2010 happen we are looking for a range of students who are able to work in different roles, including: graphic design, PR and press work, artist liaison, managing sponsors, VJing, web design and team leading. If one of these sounds like the job you would like to do then come join us!

'''Deutsche Kurzbeschreibung''' 
Das Mani.Fest bot während des Medienganges 2009 zahlreichen Künstlern aus Weimar eine Plattform für audio/visuelle Live Performances. Auch in diesem Jahr soll das Mani.Fest wieder stattfinden und sich weiterentwickeln.

Dieses Projekt befasst sich mit den grundlegenden Anwendungen und Prozessen, die bei dem Organisieren und der Produktion von Live Performances und Medien Events notwendig sind. Das umfasst sämtliche Schritte von der Programmentwicklung über die Akquise von Künstlern und Sponsoren, die technische Vorbereitung und der Aufbau, die Ablaufplanung, das Marketing und bis hin zur Aufführung selbst.
 

'''MANI.FEST III team members:''' 
- Robert Dietrich 
- Sophia Gräfe 
- Cindy Leuther 
- Patrick Richter 
- Stephen Nolan 
- Dagmar Fella 

==Admission procedure==
Send [[Ben Sassen|me]] or [[Kyd Campbell|me]] by e-mail '''after''' the first meeting the following information:
* Full name
* Fachrichtung and Fachsemester
* Matrikel #
* Angabe der geltenden Prüfungsordnung
* Valid e-mail address

==Leistungsnachweis==

Students will take part in the multiple facets of producing the 3rd edition of MANI.FEST.

Each will be responsible for documenting a part of the process and submitting a written report describing the work they have done during the project and dritical reflections on the project, at the end. This report must be submitted within 2 weeks following the festival date.

==Eligible participants==
Enrolled BFA, MFA and diploma students of the faculties of media, Gestaltung and participants of the media-architecture program.

==Syllabus==
* '''13.04.10''' first meeting, kick off lecture
** REPORT: At this first class we introduced the concept of MANI.FEST and the current Weimar context for AV performance presentation. We looked at a number of artist examples, talked about some different festivals, including the Tiny Noise, and previous MANI.FEST events. We discussed the possibility of creating a context for artists to improvise together during the frame of the festivals, different venues, good time lengths for an AV event, and audience comfort vs. endurance.(k.c.)
* '''16.04.10''' 18h15 - public presentation on noise and sound art and passed MANI.FESTS
* '''20.04.10''' imagining our process
** REPORT: After a second overall introduction to the idea of MANI.FEST and the background of our team members, we agreed on using the media faculty's WIKI for our documentation and on the subscription in selected media art related mailing lists. We presented some of our favourite performances/performers like Candice Breitz, Gabriel Shalom, a Radiohead’s music video [http://code.google.com/intl/de-DE/creative/radiohead/ "House of Cards"], a performance by [http://www.youtube.com/watch?v=w2G3KfKbJwE Einstürtzende Neubauten] called [http://www.wega-film.at/?film_id=22-das-auge-des-taifun “Das Auge des Taifun”] and some video and audio from [http://www.youtube.com/watch?v=1woMEExMZXg&feature=related Suicide] and [http://www.youtube.com/watch?v=e-J8Rxfk6M8 Pan Sonic]. After this we described and looked towards all the steps of the project realization, listed resources and upcoming deadlines. According to this we discussed about our project’s funding/fund raising. In the middle of these considerations stood a precise discussion and attempt to define terms related to the art genre we will present within the context of MANI.FEST. [view](s.g.)
* '''27.04.10''' Funding and Press Release
**REPORT. During this weeks session we looked at media art (pre1979) and discussed our opinions on various works presented. We examined the creative fund guidelines and detailed points of focus for funding applications in general. We read our press release texts. For next week (an exercise in curatorial selection) we shall find a contemporary media performance work with detailed technical specifications. We will also explore Weimar for possible venues and work further on our press release.
**Works Discussed:
***'''Jud Yalkut''' [http://artforum.com/video/mode=large&id=22150 Beatles Electronique]
***'''Tvestroy''' (Danny Perreault and Thomas Ouellet Frederick) [http://www.youtube.com/watch?v=ZnhZjTeQ5wQ&feature=related Electrovideoacoustics]
***'''John Cage''' [http://www.youtube.com/watch?v=hUJagb7hL0E 4'33"]
***'''John Cage''' [http://www.youtube.com/watch?v=SSulycqZH-U Water Walk]
***'''Laszlo Moholy Nagy''' [http://www.medienkunstnetz.de/works/licht-raum-modulator/ Light Space Modulator]
***'''John Baldessari''' [http://www.dailymotion.com/video/x26pc_baldessari-teaching-a-plant-the-alp_creation Teaching a plant the alphabet]
***'''William Wegman''' [http://www.ubu.com/film/wegman_man-ray.html Man Ray, Man Ray]
***'''Philip Glass/Robert Wilson''' [http://www.youtube.com/watch?v=0zlgQfhTFBA Einstein On The Beach]
***'''Chris Burden''' [http://www.ubu.com/film/burden_selected.html Ad, Shoot]
* '''04.05.10'''
**REPORT: By searching for artists taking part in current festivals we found three interesting ones and studied their Tech-Riders. It's important to know exactly what we need and when we need it. We started to make a plan about every fact that's necessary to arrange a well working festival in time. Before every step the festivals identity must be clear to get in contact with artists, sponsors, press and audience. By open call we'll try to find artists. A central e-mail address is needed for Mani.fests authenticity.
**Works Discussed:
***'''[http://gudrungut.antyegreie.com/ Gudrun Gut & Antye Greie]''' >>>>> [http://www.media-loca.com/greiegutfraktion/techrider Tech-Rider]
***'''Artificiel''' [http://www.artificiel.org/POWEr POWEr] >>>>> [http://download.artificiel.org/pdf/artificielPOWEr-rider.pdf Tech-Rider]
***'''Monomatic''' [http://www.monomatic.net/peal/ Peal] >>>>> [http://www.monomatic.net/wp_main/wp-content/uploads/2010/03/Monomatic-PEAL-InfoPack-v2.pdf Tech-Rider]
* '''11.05.10'''
**REPORT: During this weeks session we looked at examples of advertising like flyers and books:
***[http://www.curatedby.at/index.html art&film curated by -vienna 2010], [http://www.itfs.de/ FESTIVAL OF ANIMATED FILM-ITFS],
**‚high culture‘ websites:
***[http://www.pelerinages.de pèleringes-Kunstfest Weimar], [http://www.roh.org.uk Royal Opera House], [http://www.nationaltheater-weimar.de Deutsches Nationaltheater Weimar], [http://www.thueringen.de/de/kulturell Freistaat Thüringen-kulturell], [http://portraits.klassik.com/Festival klassik.com], [http://www.orgelfestival-westfalen-lippe.de/ Internationales Orgelfestival]
**and also contemporary/‘cutting edge‘ culture websites:
***[http://www.soundframe.at SOUND:FRAME], [http://www.deutschestheater.de Deutsches Theater Berlin], [http://endpilot.de/ End Pilot Festival]
**We searched for possible venues, so we can check them as soon as possible and find the most suitable one. We also reordered and actualised the to-do plan and set up a PR plan for the 9 weeks before the MANI.FEST.

* '''18.05.10'''
** REPORT : we talked about what aspects we needed to include in a call for projects. We wrote the call. We looked at the current status of the graphic design. We prepared for a public workshop/launch of the call for projects.
* '''19.05.10''' : public workshop / launch of call for projects [[File:ManiFestIIIcall.pdf]]
** during the public open [http://freieklasseweimar.wordpress.com/ Freie Klasse] in Weimar, our group presented our call for performances and taught a workshop for artists about preparing portfolios and applications to festivals, exhibitions and residencies.
* '''25.05.10''' : working day : PR, PR, PR (+ sponsorship & partnership), website
* '''01.06.10''' : finding artists, setting venue, sponsors/partners
* '''08.06.10''', '''15.06.10''', '''22.06.10''', '''29.06.10''', '''06.07.10''', '''13.07.10''' : team production
* EVENT DATE (18.07.10)

==Upcoming / Related==

* 2nd of June 7 pm, '''Gabriel Shalom''' talks in rm.204, M7

* [http://www.transfera.es Transfera] - TV show about experimental video art and AV works (on Canal Autor channel - Orange & Euskatel, Friday nights from Madrid, Spain)
* [http://www.filmladen.de/dokfest/aktuelles/ Kasseler Doku Fest] - film and video art festival, 9>14 Nov. 2010
** [http://www.filmladen.de/dokfest/ausschreibungsunterlagen-27-kasseler-dokfest/ call for projects] - deadline July 19, 2010
* [http://www.natural-fiber.com/cellsbutton Cells Buttons] - Yogyakarta International Media Art Festival, Indonesia - 27 July > 7 August 2010
** call for projects, deadline: May 25, 2010
* [http://mappingfetival.com Mapping Festival] - 6 > 16 May, Geneva, Switzerland, VJ festival
* [http://eletrafestival.ca Elektra Festival] - 5 > 9 May, Montreal, Cananda, international digital art festival, BIG technology.
* [http://www.nkprojekt.de/ NK project, Berlin] - sound space, upcoming: May 8th, Art Kill Art Label Night

==Resources==
* [http://on-curating.org/ On Curating] new magazine about curatorial practice
* [https://www.jiscmail.ac.uk/cgi-bin/webadmin?A0=new-media-curating New Media Curating] mailing list and research network
* [http://www.crumbweb.org/ CRUMB - Curatorial Resource for Upstart Media Bliss]
* [http://bandcamp.com/ Band Camp] - site hosting musicians pages from all over the world, free listening & downloading
* [http://www.bedeutung.co.uk Bedeutung] - EBOOK library & magazine, great readings!
* [http://endpilot.de/2009/index.php?navi=broschuere End Pilot production How-to] - video and brochure about how to put together a festival, produced by Plastic Cut during the End Pilot Festival (Erfurt)

==Artists presented in class==
[[Image:Tn_prez_strip.jpg‎]]
* [http://www.myspace.com/justiceyeldham Justice Yeldham] - (AU) Glass, contact mics, etc.
* [http://www.poemproducer.com AGF] - (DE) voice, poetry, electronic music
* [http://www.andregoncalves.info/ André Gonçalves] - (PT) arduino, electronics, household objects
* [http://www.pascsaq.org/ Pascale Gustin] - (FR) voice, poetry, electronics
* [http://www.lappetites.com/ Lappetites] - (INT'L) eletronic orchestra
* [http://www.autopoiese.org/ Joachim Montessui] - (FR) found footage, electroacoustic
* [http://www.nault.ca Line Nault] - (CA) dance, electronic objects, video feedback
* [http://t-o-f.info/tvestroy/ Danny Perreault + Thomas Ouellet Fredericks] - (CA) electric feedback, pure data, televisions, stroboscopic effects [http://vimeo.com/10660457 high quality video documentation]
* [http://vivapunani.org EVOL] - (ES) computer music & air horns
* [http://homepage.mac.com/shingo_inao/ Shingo Inao] - (JP) sensors, electronics, computer music
* [http://www.hentschlager.info/ Kurt Hentschlager] - (AT/USA) Immersive Audiovisual Environments
* [http://www.hamsadesign.com/vidfilm/JudYalkut.html Jud Yalkut] - (USA) experimental cinema, intermedia, installation [http://www.dailymotion.com/video/x7n2vm_nam-june-paik-yalku-jud-beatles-ele_shortfilms video collaboration with Nam June Paik]
* [http://www.vasulka.org the Vasulkas]
* [http://www.vasulka.org/Kitchen Kitchen Archive] (USA) - 1971-1973 An Image and Sound laborator founded by the Vasulkas in New York

==Links==
* [[Audiovision Linkliste]]
* [http://bauhaus-manifest.com MANI.FEST]]
* [http://myspace.com/mani_fest myspace Mani.Fest]
* other related courses:
** [[GMU:Breaking the Timeline]] - [[Max Neupert]]
** [http://seam.hfm-weimar.de/wiki/doku.php?id=lehrmaterial:popp:dialog_auge_ohr Dialog für Auge und Ohr, Sommersemester 2010] - [[Constantin Popp]] (HfM)

[[File : 2010callsm.jpg]]

= PROJECT DOCUMENTATION, PROOFS & CRITICAL COMMENTARY 2010 [[File : manifest_cogg.jpg]] =

[[File : manifest_cogg.jpg]]
=Sophia Gräfe (final semester BFA)=

===General comment===

Under the direction of Associate Professor of Experimental Television, Ben Sassen, and
Kyd Campbell curator / artist I was involved in the Mani.fest III event.
My main focus here was the press and public relations of the small
Media arts festival. I planned in cooperation with the other student team members
and led the integrated and comprehensive communication and publications of the Mani.fest
III event not only in the target group of Mani.fest III, but also the summaery 2010th event.

==Project Responsibilities==

===Editorial===
Building on previous Mani.fest events I developed a presentation text in consultation with the 2010 team Mani.fest. I developed the call for artists submissions. Working closely with the designers of Mani.fest III I planned the structure and operation of the website and wrote the web texts.

I also helped the preparations for the event with advertising and Documentation texts in the form of press releases. These were communicated to the public through the website Mani.fest III, facebook and myspace profiles, the Piazza, the Faculty of Media communications department, the central press office of the Bauhaus University of Weimar and the organization summaery 2010. I Also edited micro-texts, which were needed in other areas.
I conceived and edited the brochure for manifest III which was publicly available. After the event I wrote a press review for the arc, the University Journal of BU Weimar. I wrote the texts in German and mostly in English.

===Communications===
The successful communication of Mani.fest III to the public was a gradual and long-term procurement
involving several steps. In addition to building a public web presence there was a progressive intra-university presence of Mani.fest III. on the university information platform “Piazza” which was
under my leadership. In cooperation with the Mani.fest III team, I accompanied two pre-events of
Mani.fest III that enhanced the profile of Mani.fest III in Weimar’s city center in the eyes of our target audience, Joe Public.
The second pre-event I conducted in collaboration with the team as a press conference by. I invited representatives of the press, during the pre-managed events, conducted interviews and gave out press kits. I built a self-researched, personal and extensive mailing list to promote the Mani.fest event.
In advance of the event I intensified communication of Mani.fest with frequent posts on the piazza and i Organised and implemented flyer and poster distribution in Erfurt, Jena and Weimar.
On the weekend before the event Mani.fest I went with my team in Baroque costume and distributed according to the pre-event strategy flyers in Weimar’s city center. Also I initiated and mediated the contact between the Mani.fest III event with the summaery 2010 Organization and other institutions. I also sent promotional material to the Artists of Mani.fest III.

On the day of Mani.fest III event, I interviewed several artists for the documentation of the program.
During the event I attended Mani.fest III Members of the media and gave interviews to interested media.
I also helped with the recording of Mani.fest III team meetings.

===Advertising===
In Addition to the multiple presences on the net, I achieved coverage in the regional daily newspapers. I was able to use the reputation of the University communication and press department of the Faculty of Media to help further our coverage and success in gaining press interest. This included the placement of one banner on the main page of the BU Weimar, a date entry on the main page and on the faculty pages, and integration into the extensive summaery - advertising BU Weimar, and in particular the website of the summaery 2010th. In addition, I communicated on varied topics, both of specific concern and general interest (ie: Artist Submissions) within the cultural community of the Mani.fest III event.

===Planning===
Besides my main task of public relations, I worked in Cooperation with the Mani.fest III team in planning the event. I discussed with my colleagues, the concept and objectives of our work for the Weimar Media art scene, laid down dates and deadlines, helped with the ideas of the other Work areas, such as graphics and video design. I also researched possible venues for the event and secured the AUDIMAX for the event.

===Organisation & Implementation===
In the main - the organization phase, I coordinated the guest team and partner list and the Invitation of the Japanese media artist Shingo Inao. I made my apartment available as a storage location for the event equipment. I also tried to secure sponsorship for the catering. On race day, I took temporary jobs at the venue. During the Mani.fest III event, I took care of the cash register, entry and bar, financial and supervisory aspects. On the very evening I counted the takings for the event.

==Critical Comments==

My involvement in Mani.fest III project was exciting and challenging. Whilst it was an established festival and the program and organisation of the festival was weak, through consistent and inspiring strategies our PR activities made up for other areas of weakness. On the university level I developed very good relations that brought broad support and a high awareness of the event. I Also succeeded to motivate visitors to come to the Mani.fest III event, despite the entrance fee which can often deter student attendance and despite the event being at the end of a long summaery weekend.

Also my press work saw exposure thüringen wide, not only with informative, but also journalistic content. Mani.fest III was increased by my efforts as one of the highlights of the summaery event and also considered as advertised by the university.

Also, I succeeded in interviews with press representatives to portray Mani.fest III in a positive light despite my concern for the quality of the performers.This was as the greatest challenge for me as in my estimation the project Mani.fest III had a serious quality problem rooted in the few and inadequate submissions submitted. In addition, i believe the overal concept, design and pre-events were weak which made it difficult to promotte. To improve the interaction of the individual sections of the team i think it would be wise to select team members based on interest and ability rather than open submission with the aim of creating an uncompromising event.

===Links===

Mani.fest III Website
www.bauhaus-manifest.com

III Mani.fest facebook page
http://www.facebook.com/bauhaus.mani.fest

Mani.fest III Myspace Page
http://www.myspace.com/mani_fest

Mani.fest III Piazza Posting - Selection
http://www.uni-weimar.de/cms/aktuell/pinnwaende/piazza.html

Summaery 2010 Website
http://www.uni-weimar.de/summaery/2010/

===Appendix===

I Press Releases

Press release I Mani.fest III Long Night of Museums @
Press Release II Press invitation - Event Mani.fest III
Press - Mani.fest III announcement 18th July 2010
Press release on summaery 2010, the Bauhaus - Universität Weimar

II Texts

Konzept-/Präsentationstext
Specification plus Banner

III program

IV newspaper articles on mani.fest III event in regional dailies

TLZ, local section, p. 4, 3 column, 1 image, 6/26/2010, “Cheer up: New Art in Old Kriolinen - media students at the
Search for new audiences “
TLZ, p. 1 jacket, 2 columns, 07/09/2010, “young art scene presents itself - Mani.fest III summaery in the lecture hall”
TLZ, local section, page 2, column 4, 1 image, 20.7.2010, author: Charles Brown, “We are making serious art”

TA local section page 4 Short Message, 29.5.2010, “Baroque-media-art”
TA local section p.3, 06/26/2010, “New Art in courtly disguise”
TA local section page 3, 3 columns, 1 image, 20.7.2010, author: Charles Brown, “New flavor intelligence”

Südthüringen Online, 18/07/2010, “Experimental stage art of Bauhaus students” - not
availabilities

Article IV in the special form “summaery 2010"

[[File : manifest_cogg.jpg]]
=Cindy Leuther (2nd semester BFA)=

==Project Responsibilities==

*- Joined the meetings.
*- Searched for venues and contacted them (MonAmi…)
*- In charge of the costume shop most of the time
*- Participated in every pre event and shootings wearing the costume (Lange Nacht der Museen Pre-*event)
*- Arranged the press pack, printed flyers, stickers and cd covers
*- Printed and sliced flyers for ‘Lange Nacht der Museen’
*- Spread lots of flyers at the pre events
*- Spread 30 posters and 400 flyer in Weimar and Jena before the main event
*- Started the work plan
*- contacted the stuff for Sunday
*- Printed copies of the working plan, technical plan and telephone lists
*- Helped with the stage management
*- Organised and got the technical stuff from the media point (at the venue and pre events with the **costumes)
*- Built up stuff for the stage, backstage and bar
*- looked after the artists backstage (during the show)
*- Helped to clean up the audimax on Sunday and Monday

==Critical Comments==

In the beginning it looked like we would never be prepared in time for the event. Preparations were proceeding very slowly. We engaged in media related theorethical discussions around a framework of selected artists and events. This in retrospect was quite good but to get a little more understanding of what our featured artists do on the stage. I gathered a lot of experience and am glad to have taken part in this course, even if it was at one time or another a little stressful. The teamwork has worked up to a few exceptions, very good, which has saved me personally a couple of sleepless nights.
During the first theoretical meeting, Ben Sassen was present and taking part in our course however, soon Kyd Campbell took the lead of the course. During the preparations for the event the team had hardly any contact with Ben so I can not comment on his contribution to the project. Kyd provided a lot of support during the whole process and directed or tasks professionally. She was always there when you needed help or had questions. Without her it would have been a lot harder to put on the event.

Communication methods were a cause of some stress. It might be better to communicate another way. Although it has all worked out very well by e-mail, there was a lot of confusion along the way. Email and goolgle docs are a good comunication tools but perhaps something else could be used to affect more reliable communications, so we can be sure that messages are recieved etc.

[[File : manifest_cogg.jpg]]
=Stephen Nolan (1st semester MFA)=

==Project Responsibilities==

===Press Release Ideas===
Developed ideas for press releases aimed at radio and webzines. The goal was to relate media art to topics already in the public domain like sustainability, surveillance games and hygiene. I developed two press releases.
1:Manifest 111 in Pythagorean style
2:Media Art Performance, Facebook, The Nintendo Wii, The iPhone and your Toothbrush.

===Research===
Researched liberal and conservative festivals as a comparative study with the aim of understanding how to position the manifest event. The liberal festival I chose was http://modisti.com with a mix of contemporary and historical presentations that matched the Manifest goal of placing new media in established settings.
The conservative was a historical clarion festival whose presentation was very formal. We also researched tech riders. We spoke about the qualities of a good and bad tech rider and developed criteria that we would follow when assessing our applicants riders. We each presented a tech rider we thought was good. I chose Peal by monomatic.

===The wiki===
Placed minutes on the wiki.

===Development of Creative Text===
Helped to finalise the creative text with editorial suggestions.

===Business Cards Production and Distribution===
Developed with Robert and Dagmar the Business Cards. This involved a detailed development of the text with several reviews and rewrites before the final product was realised. The Bilingual cards in English and German necessitated careful translation to ensure the same vibe and intent was communicated in both languages. The reason for using English and German was to to reflect the international aspect of Weimar and Manifest. I Worked closely with Robert on the design. Printed and cut the cards and distributed them in cafes and venues around the city. The cards were printed in English and German. They were also handed out on the night of the museum event.

===Self-Promotion for Artists===
Worked with Dagmar and Kyd in developing and presenting a workshop aimed at potential Artists. This involved a presentation at the Mani.fest Workshop @ Freie Klasse. The workshop covered topics such as artist documentation, artist application procedures and the art of selling yourself to festivals.

===Press Pre-Event===
Following the design of the original website Robert worked on, we developed a historical context in our promotions in order to mirror one of Manifests goals, that of placing works of media art in the minds of a wider audience. Out of the subcultural haunts and into the mainstream mindset.
We staged two events, the first was a photo shoot in the Park. We employed the park as stage andwore period dress and held laptops and mics etc in contrast. This was developed further in the animations for the website.The photos were used as advertising for the project and proved very successful at gaining interest from the wider public.

===PressPack===
I developed the idea of a mask in the style of a ballroom mask, again connecting with the historical weimar and making 3D glasses with them to be used in a press pack. I developed two proto-types.

===Application Management===
I took responsibility for dealing with applications that came into the email account. I responded to all applicants and requested more information where necessary. I set up a spreadsheet so as to easily see what we had and what we needed from the artists. We also used the spreadsheet to voice opinions of the work, whether we liked it etc.

===Communication===
I made contact with SEAM and arranged a meeting with Constantine in order to discuss the partnership with SEAM. Issues to be discussed were sound system and insurance.

==Critical Comments==

As a student led initiative students access to the budget was through the teachers. What was an acceptable expense? Should the treasurer be student or teacher? In terms of experiments in success and failure the potential to learn from these kinds of decisions was coloured by the fact that the treasurer was a teacher.

Communication was largely text based which was the cause of some misunderstandings. The collaborative relationship was strong in the group. It was my first experience of an event management project of this scale and overall I found it a very rewarding thing to do. I learned a lot that I can apply to my own practice.

[[File : manifest_cogg.jpg]]
=Patrick Richter (2nd semester BFA)=

==Project Responsibilities==

===Videos===
*Trailers (2D, 3D, 2 Paintings, 1 Artists trailer)
*7 Showvideos
*1 Show DVD programming

===Social Networking Myspace===
*Website Design
*Friends adding and caring
*Bulletin postings
*Updates on myspace blog and site
*Uploading and posting photos, making slideshows
*Sorting photos by event year
*Update new and special myspace videos
*Creating a new event
*Sent out mainevent invitations to all friends in the list

===Facebook===
*Managing and maintaining friends
*Building contact to Shingo Iano
*Bulletin postings
*Uploading and posting photos
*Uploading videos
*Sent out mainevent invitations to all friends in the list

===Pre-Event===
*Taking about 150 photos in Goethe Park of Dagmar, Cindy & Stephen in costumes
*Record video footage for an eventuel trailer

===Press-Event===
*Designed carneval 3D masks
*Animating & editing two videos of moving paintings
*Acting in costume showing our trailer
*Taking photos for documentation and upload it to social networks

===Flyer-Event===
*Acting in costume handing out our flyers

===Flyers===
*Spread about 400 flyers in cafes and bars in central Erfurt

===Venues===
*Gathering information about these venues and contacting responsible persons:
* Reithaus
* Zeughof
* DNT
* Audimax

===Technics===
*Updating the list of technical needs of each artist
*Contacting artists for missing tech riders
*Getting in contact with STUKO to reserve technics

===Photos====
* Audimax
* Press-Event
* Pre-Event

===Show===
*Explored the venue
*Took photos for video concept
*Meeting with christian hellmann to discuss the venue design and video relations
*1 week of editing and animating video tracks for the show
*Got thoska access to audimax
*Spent 3 days getting used to the audimax technical issues (dvd-player, screen, light, windows, beamer, switchings between input sources)
*Conceived dvd structure for the show
*Contacting Marcus Schlaffke to solve DVD player problems
*Creating final show DVD including our partners list
*Carrying technics to audimax
*Building up the stage
*Solved technical problem of artist (getting David Schornheims videos to work)
*Worked on an introduction sound for the start up video together wth Shingo
*Solved DVD player problems with Marcus Schlaffke
*Conceived Bikecores videoshow on visualizer, rehersed and performed during her show
*Connecting artists to the control panel of the audimax
*Editing video for umbrella projection
*Set up working umbrella projection
*Adjusted beamer for a better video result
*Rehersal with shingo to synchroize his audio to my video intro
*Running the interlude videos between the performances and controled projections on control panel

[[File : manifest_cogg.jpg]]
=Robert Dietrich (2nd semester BFA))=

==Project Responsibilities==

*Poster artwork
*Flyer artwork
*Website design and maintaining
*Design of press releases and letterheads
*Stagehand work before, during and after festival
*Translation and contact to german-speaking staff
*Insurance effection

==Critical Comments==

Mani.fest III is an extraordinary international art festival. With nearly no budget but highly enthusiastic staff willing to do what ever it takes- it was a unique experience. Providing a professional public platform fro new media interdisciplinary performance art in weimar with most of the project members being non-professionals required everyone to do their
best.

Nevertheless, I would like to propose certain improvements for the up- coming Mani.Fests. First, the search for an appropriate framework of the Mani.fest should be a major priority. I considered the Audimax not to be a suitable venue for a cutting edge performance art festival, due to its technical limitations (non-existing drape) as well as the sobriety of its interior design.

The search for artists should be extended. Publishing the call for propos- also soley on the web doesn’t create enough attention for Manifest as you could tell by the fact that we haven’t been flooded with applications and even extended the time frame for proposals. Publicity especially towards possible artists could be achieved with extra call out posters ondisplay in university hot spots, local galleries etc.

==Work Space: Project Notes ==

===Intro Texts===

Sophia Gräfe
MANI.FEST 2010
Das Multi-Media-Event MANI.FEST erfährt zur Summaery 2010 seine dritte Ausgabe. Als großformatige Abendveranstaltung präsentiert MANI.FEST aktuelle herausragende Medien- und Performancekunst im Umfeld der Bauhaus Universität Weimar mit internationalen Rang. Organisiert von einem studentischen Team der Fakultäten Architektur, Medien und Gestaltung unter der Leitung des Juniorprofessors für Experimentelle Television Ben Sassen und der freien Kuratorin und Künstlerin Kyd Campbell, wird MANI.FEST Vorzeigeprojekte aus dem Bereich der experimentellen Video- und Klangkunst dem Weimarer Publikum zugänglich machen. Basierend auf den Erfolg unserer Veranstaltung aus den letzten zwei Jahren möchte MANI.FEST 2010 zudem in gleichbleibend hoher Qualität junge Vertreter unkonventioneller und neuer Kunstformen eine Plattform zur Aufführung ihrer Arbeiten bieten und die Stadt Weimar als Produktions- und Spielort medialer Gegenwartskunst etablieren.

===possible venues===
capacity > 200 people

* Mon Ami - large theatre (Cindy will check out the theatre)
**bar services, lights, good location, central
* Volkshaus (near to Ewerk)
* Audimax, in Library building (would need to find a space design - maybe too steep)

* HfM room in Coudray Str., offered by SeaM, 50 person capacity

==Not Available / Not Selected==
* Reithaus (Cindy will check out the theatre) - not available that date
* Deutches National Theatre, Theatre Platz (check), practice stage - not available due to theatre holiday all July
* Bauhaus Museum (too small)
* Belvedere (check out the Musik Gymnasium + actual Belvedere buildings - maybe too far)
* [http://web.uni-weimar.de/medien/wiki/images/Venues_Zeughof.pdf Zeug Hof] (behind Bauhaus Museum, might be too small, pre-event? Patrick called the organizer Dan Thompson) pretty small, would have some rental cost
* Viehauktionshalle (contact Konsum Weimar for info, maybe too large, right profile?)
* Gym in Jakobsplan
* Gauforum stage
* Weimarhalle (tiefgarage? salle2 - maybe too steep)
* Ottmar Gerster hall (check, no stage, historic space, no hanging) - was the location from the first year
- - -

===possible sponsors===

===possible publicity venues===
'''local events we can promote at:''' 

ab 12.-25. Mai Glaxbox, Gaswerk Weimar u. A.
(glasconstructions will be placed in various locations round weimar. there will be projections on the windows)
Glaxbox 2010 und dessen Vorbereitung gliedert sich in fünf Aktionsschwerpunkte.?
Themenbezogene Aktionen / Workshops 12.-25.Mai 2010?
Aktionen in der Stadt Weimar 28.-30.Mai 2010?
Ausstellung / Performance 31.Mai-13.Juni 2010?
[http://www.schwansee92.de/blog/?p=335 Konzert / Openstage] 11.-13.Juni 2010?
Dokumentation Buch / Internet

29 May, Lange Nacht der Museen 

03. Juni, Uni-Campus Bauhaus
[http://www.uni-weimar.de/cms/aktuell/tag-im-land-der-ideen/programm.html Energie.Experiment.Erlebnis] - Programm zum Tag im Land der Ideen (Bauhaus-Idea_development-exhibition-day; concerts and presentation of media-art pieces)

[http://www.schwansee92.de/blog/?p=343 Salon Pink] 18. Juni, 16. Juli?
(Artevent on every 3rd friday of the month in the gaswerk weimar)
Jeden 3. Freitag im Monat findet eine Salon-Veranstaltung/ Vernissage statt, welche die dazugehörige 7-tägige Ausstellung eröffnet.

25.-27. Juni, Reuth, Vogtland
[http://www.stelzenfestspiele.de/ Stelezenfestspiele bei Reuth] (a best-quality experimental music festival in the middle of nowhere)

12.-19. Juli Diplomausstellung FK /Examensausstellung LAK, Kulturbahnhof Jena (studentexhibition in Jena)

SYNAE - licht:klang:raum:bild
(Mediaart-Festival in the Gaswerk Weimar)
http://www.schwansee92.de/blog/?page_id=252

15.-18. Juli, Rundgang BUW (!)

'''local press partners:''' 
internal University Press offices 
'''online publicity venues:''' 
'''international publicity venues:''' 
'''contacting artists'''
[http://freieklasseweimar.wordpress.com Make a workshop on artist self-promotion in the Freieklasse Weimar, 16-23 May] 

===working partners===

Department of Electroacoustic Music

Media Faculty

==WORKING TIMETABLE (in progress)==

*'''BASICS'''
- define and describe the event's identity (its goals, audience, content) - write a 'mission statement' text - decide whether the event will have a specific thematic or not

- fix the date - research open local dates, do not coincide with another local event - connect with the Summer Rundgang, Summaery - Sunday night? - define the time of night (start time) - possibility for shared planning with other local events and shared promo (ie with Summaery)

Create overview of all tasks that need to be done to make the event happen ( a 'road map')

- divide different tasks between different group members (make teams)

*'''PR'''

'''-- In General:''' - visit relevant events in town and promote the Mani.Fest (e.g. long night of the museums - may 29th)

'''--- week 0''' (begins 10/5/10) 
make a press plan/time schedule (Done: you're reading it!)

'''--- week 1''' (begins 17/5/10) 
- share a workshop: how to apply to a festival (cv, documentation, proposal writing) 
- coinciding with our event's submissions deadline 
- make contact with press partners (Medien Faculty press agent Antje Kahn, central University press office (UK) in Rektor's office, Summaery press team, mediengang team) 
- design visual branding plan 
- make a call for projects flyer 
- set up a project email account so people can get in touch with us (done: gmail account) 
- have info ready online specifying the submission procedure 
- explain why we collect so much info, bio, tech setup, concept, image links etc. 
- let people know that our platform (the festival) is available 

'''--- week 2''' (begins 24/5/10) 
- activate our online social networks (myspace, facebook etc.) 
- new website online, good URL - appropriate design 
- brand design drafted 
- write press text 

'''--- week 3''' (begins 31/5/10) 
- press text finished 
- defining our target audience: 
what media reaches this audience? 
tv, radio, radio lotte, NDR, antenna thuringen, sputnik,
local newspapers, student magazines, MDR tv, unicato 

'''--- week 4''' (begins 7/6/10) 
- artists chosen 
- design event flyers & poster 
- start press pack design 
- Print press List + Contact, Deadlines - international + locally based ones (erfurt based Copymag, intro magazine) 
- find/contact online magazines and blogs + Contact, Deadlines 
- first video trailer 

'''--- week 5''' (begins 14/6/10) 
- make a press pack 

'''--- week 6''' (begins 21/6/10) 
- press conference (maybe combined with pre-event) well related to the atmosphere of our event 

'''--- week 7''' (begins 28/6/10) 
- arrange interview with artists + press (in collaboration with Artist Management team) -> June 25th 
- (2nd video trailer) 
- pre-event fotos 

'''--- week 8''' (begins 5/7/10) 

'''--- week 9''' (begins 12/7/10) 
- MANI.FEST !!-

*'''Event Direction/Organisation (Management/Accounting/Legal/Human Resources/Sponsoring)'''

Set tasks for all groups involved in the festival based on 'road map' document

Lead weekly meeting of all event participants and keep overview of tasks progress in relation to 'road map' schedule

- connect asap with our partners in HfM - get the technical list (what is available) form the HfM and the venues
- make the link with the Summaery & mediengang groups, become part of their program

deciding how long the event should be - 100 min?, break? how much can the audience handle - do we want - selecting the event atmosphere (bar/party setting, formal music concert…)

- think about how much budget have/need for each part of the event's production (and overall)

- define our insurance needs - shop for insurance

- GEMA music licensing fees (negotiate with artists & venue)

- define our additional staffing requirements
technical team (to work with us at the event)
general helpers (to work with us at the event)

*'''Sponsoring'''
- ???

*'''Managing Artists'''
decide how we will our artists:
open call
local research/knowledge of artists
direct invitations to known artists

- Decide how many artists we will need (how long the event is, how long each performance should be)

- Write description of the sort of artists/work we are looking for (developed from 'mission statement') - do we choose pre-made performances or ask artists to make new ones for our topic? both?

- brainstorm inspiring info on the topic to be used for inspiring artists and conveying our overall concept

- research and make connections with related courses, for finding artists (and technical +other helpers)

- provide some idea material for inspiring artists to apply to the open call - make some presentations in courses, or directly to some possible artists

- be prepared to convey the scale and quality level of the event to the artists

- explain the decision process

- ask professors for recommendations of students

- Set deadline for all artist submissions (if using open call)

- Set deadline for selection of artists

- Choose main artists for event program and one or two back-up options in case they are needed
- consider the artists in relation to the venue (will the artists fit practically into our venue)
- consider how the artists will fit together in a program

- Contact chosen artists

- get bio/profile info on the artists

- arrange interview with artists + press (in collaboration with PR team)

- set up soundchecks (in collaboration with Event Production team)

*'''Finding A Venue'''
defining the criteria for the venue (how big must it be, what facilities must it have, what is our budget for venue hire, on what dates would we like to use the venue, how does the location fit with our brand and target audience)

research venue options in local area

visiting venue options

select one or two venue options and begin negotiating a deal

make a final contract/arrangement with the venue

think about pre-event venue

*'''Main Event Production'''
- get technical riders from artists (in collaboration with Artists Management team)

- define list of equipment required for the event

- find resources for obtaining the equipment (hire, buy, borrow etc - is there a technical budget)

- designing the technical setup (how will the equipment be connected together and where will it be in the venue)

- designing the space (decoration) - having seating in the venue (at least 200 seats) - do we need tables (cabaret style?) - where does everything need to go in the venue

- consider practical aspects (tables for selling tickets, staffing and supplying the bar, licensing, toilet paper...

- transport of equipment

- set up soundchecks (in collaboration with Artists Management team)

*'''pre-event planning'''
to promote
to present additional works
how connected should it be to the main venue

*'''Documentation of our event''' 
- Patrick + camera team???

==Expenses/Budget==

small giveaways 150 stueck (30 A4 sheets) costs: 1,50 euro

short information sheets 120 stueck (30 A4 sheets) costs: 1,50 euro

renting costumes for promo "lange nacht der museen" costs: 45,00 euro

insurance for sound system during event cost: 230,00 euro

[[Category:Ben Sassen]]
[[Category:SS10]]
[[Category:Performance]]
[[Category:Event]]
[[Category:Experimentelle Television]]
[[Category:Ben Sassen]]
[[Category:SS10]]
[[Category:Performance]]
[[Category:Event]]
[[Category:Experimentelle Television]]

EXPTV:Start

2011-04-20T21:47:29Z

Kydkydkyd:

<big>'''Experimentelle Television (EXPTV) Wiki'''</big>

== NEWS & EVENTS ==
* Friday November 5th - Artist talk by media artist and documentary film maker Fred Baker - 18:00 @ Medienhaus Kino room, Steubenstr. 6a

*New Semester WS 10/11 BA Project announced - See [[EXPTV:3D AV-Movement.Media.Mutatus]] for further details.

*Mani.Fest III Photos [http://dpbauhaus.wordpress.com/2010/07/26/photos-2010/ Online]

== Experimentelle Television ==
[[Image:expsm.jpg|left]]

Die Juniorprofessur für Experimentelle Television der Bauhaus-Universität Weimar macht es sich zur Aufgabe, neue und experimentelle Ausdrucksmöglichkeiten und Formen zu schaffen, welche ihre eigenen Formate und ihre eigenen Möglichkeiten der Darbietung jenseits traditioneller Veranstaltungs- und Sendestrukturen begründen. In Bezug darauf konzentriert sich die Forschung und Lehre auf das Untersuchen der Veränderung und Weiterentwicklung des Fernsehens als ein Sendemedium im Zusammenhang mit der Produktion, der Verbreitung und dem künstlerischen Experiment. Die Professur legt das Augenmerk der universitären Arbeit auf : gesellschaftlich interaktive Medien und videobasierte Live-Performancekunst. Der Britischer Video- und Performancekünstler Ben Sassen leitet die Juniorprofessur der Fakultät Medien seit dem Wintersemester 2007.
 

''engl. description''

The junior professorship for Experimental Television focusses on creating new and experimental forms of televised expressions that establish their own formats and their own opportunities for performance beyond traditional event and broadcasting structures. Research and teaching work examines mutation and evolution of television as a broadcast medium with relation to production, distribution and artistic experimentation. The aim overall is to both propose and review new forms of televisual practice that will allow TV to remain useful and relevant as a form of entertainment and communication within a very rapidly changing media landscape. The professorship pursues these goals through two central streams of practice; socially interactive media and video based live performance art. British born video and performance artist Ben Sassen has lead the junior professorship for Experimental Television in the Media faculty since 2007.

Kontaktadressen

Prof. [[Ben Sassen]] 
Juniorprofessor Experimentelle Television, Fakultät Medien 
Bauhausstraße 15, Raum 202 
99423 Weimar 
T: +49 (0) 36 43/58-36 00 
F: +49 (0) 36 43/58-36 01 
E-Mail: ben.sassen [at] uni-weimar.de 
[http://web.uni-weimar.de/medien/wiki/index.php5?title=Special%3AAllPages&namespace=112 All Pages in the Namespace Experimentelle Television] in this Wiki

==PREVIOUS COURSES==

'''Winter Semester 2010/11'''

:Bachelor of Fine Arts 
::[[EXPTV:3D_AV-Movement.Media.Mutatus|3D A/V - Movement.Media.Mutatis]] (Projektmodul) Course Leaders: Prof. Sassen, Prof. Fröhlich, Alex Kulik 

:Master of Fine Arts 
::ExpTV is not offering any MFA courses this semester.

'''Summer Semester 2010'''

:Bachelor of Fine Arts 
::[[EXPTV:Interactive 3D AV]] – Projektmodul (BFA), Schollmeyer, Fröhlich, Jr. Prof. Ben Sassen 
::[[Crossmedia Querfeldein]] - Werkmodul (BFA), Sassen, Lembke, Maage, Weise, Feddersen
::[[EXPTV:Organising multi-media events: Mani.Fest III]] – Werkmodul (BFA), Jr. Prof. Ben Sassen, K. Campbell 

:Master of Fine Arts 
::[[EXPTV:Community.Media.Identity]] – Projektmodul (MFA), Jr. Prof. Ben Sassen 
::[[EXPTV:Interactive 3D AV]] – Projektmodul (MFA), Schollmeyer, Fröhlich, Jr. Prof. Ben Sassen 
::[[EXPTV:Organising multi-media events: Mani.Fest III]] – Fachmodul (MFA), Jr. Prof. Ben Sassen, K. Campbell 

==PROJECT LINKS==
* [http://maa.cam.ac.uk/home/index.php?a=15&b=Prehistoric+Picture+Project+making+ancient+rock-art+visible&c=20 Prehistoric Picture Project] (with Cambridge University) - Press links [http://www.spiegel.de/wissenschaft/mensch/0,1518,703756,00.html here] and [http://www.independent.co.uk/arts-entertainment/films/prehistoric-man-went-to-the-movies-say-researchers-2018031.html here]
* [http://www.grenztaenzer.de Grenztänzer/Dokumedia] (with Deutsches Nationaltheater) - [http://salve-tv.net/web/de/webtv/webtv.php?videoID=4830 Press link]
* [http://medien-laden.de/ Medienladen]
* [http://www.bauhaus-manifest.com MANI.FEST]
* [http://www.uni-weimar.de/projekte/event/studiob/?p=10 L'Aquila Expedition/European Media Activism & Studio Bauhaus] (with Friedrich-Schiller-Universität Jena & Jena University of Applied Sciences) - [http://www.spiegel.de/unispiegel/wunderbar/0,1518,653697,00.html Press link]
* [http://www2.tu-ilmenau.de/worldopinion The Voice Of The People/Studio Bauhaus] (with Technischen Universität Ilmenau & St.Pölten University of Applied Sciences)
* [http://www.subinetv.blogspot.com SubineTV]
* [http://video-for-live-events.blogspot.com/ Rocket Festival/Video For Live Events]
{{Template:Help}}

[[Category:Experimentelle Television]]
[[Category:Ben Sassen]]
[[Category:Experimentelle Television]]
[[Category:Ben Sassen]]

EXPTV:Start

2011-04-20T21:45:09Z

Kydkydkyd:

<big>'''Experimentelle Television (EXPTV) Wiki'''</big>

== NEWS & EVENTS ==
* Friday November 5th - Artist talk by media artist and documentary film maker Fred Baker - 18:00 @ Medienhaus Kino room, Steubenstr. 6a

*New Semester WS 10/11 BA Project announced - See [[EXPTV:3D AV-Movement.Media.Mutatus]] for further details.

*Mani.Fest III Photos [http://dpbauhaus.wordpress.com/2010/07/26/photos-2010/ Online]

== Experimentelle Television ==
[[Image:expsm.jpg|left]]

Die Juniorprofessur für Experimentelle Television der Bauhaus-Universität Weimar macht es sich zur Aufgabe, neue und experimentelle Ausdrucksmöglichkeiten und Formen zu schaffen, welche ihre eigenen Formate und ihre eigenen Möglichkeiten der Darbietung jenseits traditioneller Veranstaltungs- und Sendestrukturen begründen. In Bezug darauf konzentriert sich die Forschung und Lehre auf das Untersuchen der Veränderung und Weiterentwicklung des Fernsehens als ein Sendemedium im Zusammenhang mit der Produktion, der Verbreitung und dem künstlerischen Experiment. Die Professur legt das Augenmerk der universitären Arbeit auf : gesellschaftlich interaktive Medien und videobasierte Live-Performancekunst. Der Britischer Video- und Performancekünstler Ben Sassen leitet die Juniorprofessur der Fakultät Medien seit dem Wintersemester 2007.
 

''engl. description''

The junior professorship for Experimental Television focusses on creating new and experimental forms of televised expressions that establish their own formats and their own opportunities for performance beyond traditional event and broadcasting structures. Research and teaching work examines mutation and evolution of television as a broadcast medium with relation to production, distribution and artistic experimentation. The aim overall is to both propose and review new forms of televisual practice that will allow TV to remain useful and relevant as a form of entertainment and communication within a very rapidly changing media landscape. The professorship pursues these goals through two central streams of practice; socially interactive media and video based live performance art. British born video and performance artist Ben Sassen has lead the junior professorship for Experimental Television in the Media faculty since 2007.

Kontaktadressen

Prof. [[Ben Sassen]] 
Juniorprofessor Experimentelle Television, Fakultät Medien 
Bauhausstraße 15, Raum 202 
99423 Weimar 
T: +49 (0) 36 43/58-36 00 
F: +49 (0) 36 43/58-36 01 
E-Mail: ben.sassen [at] uni-weimar.de 
[http://web.uni-weimar.de/medien/wiki/index.php5?title=Special%3AAllPages&namespace=112 All Pages in the Namespace Experimentelle Television] in this Wiki

==PREVIOUS COURSES==

'''Winter Semester 2010/11'''

:Bachelor of Fine Arts 
::[[EXPTV:3D_AV-Movement.Media.Mutatus|3D A/V - Movement.Media.Mutatis]] (Projektmodul) Course Leaders: Prof. Sassen, Prof. Fröhlich, Alex Kulik 

:Master of Fine Arts 
::ExpTV is not offering any MFA courses this semester.

'''Summer Semester 2010'''

==PROJECT LINKS==
* [http://maa.cam.ac.uk/home/index.php?a=15&b=Prehistoric+Picture+Project+making+ancient+rock-art+visible&c=20 Prehistoric Picture Project] (with Cambridge University) - Press links [http://www.spiegel.de/wissenschaft/mensch/0,1518,703756,00.html here] and [http://www.independent.co.uk/arts-entertainment/films/prehistoric-man-went-to-the-movies-say-researchers-2018031.html here]
* [http://www.grenztaenzer.de Grenztänzer/Dokumedia] (with Deutsches Nationaltheater) - [http://salve-tv.net/web/de/webtv/webtv.php?videoID=4830 Press link]
* [http://medien-laden.de/ Medienladen]
* [http://www.bauhaus-manifest.com MANI.FEST]
* [http://www.uni-weimar.de/projekte/event/studiob/?p=10 L'Aquila Expedition/European Media Activism & Studio Bauhaus] (with Friedrich-Schiller-Universität Jena & Jena University of Applied Sciences) - [http://www.spiegel.de/unispiegel/wunderbar/0,1518,653697,00.html Press link]
* [http://www2.tu-ilmenau.de/worldopinion The Voice Of The People/Studio Bauhaus] (with Technischen Universität Ilmenau & St.Pölten University of Applied Sciences)
* [http://www.subinetv.blogspot.com SubineTV]
* [http://video-for-live-events.blogspot.com/ Rocket Festival/Video For Live Events]
{{Template:Help}}

[[Category:Experimentelle Television]]
[[Category:Ben Sassen]]
[[Category:Experimentelle Television]]
[[Category:Ben Sassen]]

GMU:Breaking the Timeline/projects/TAPE

2011-01-17T00:59:27Z

Kydkydkyd:

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

=== process ===
UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3> 
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used PureData to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]] 
<videoflash type=vimeo>12737337|300|230</videoflash> 
<videoflash type=vimeo>12737800|300|230</videoflash>
<gallery>
Image:kpd1.jpg
Image:kpd2.jpg
Image:Looking1screen.jpg|Still
</gallery>
 

''video documentation video on the way''

GMU:Breaking the Timeline/projects/TAPE

2011-01-17T00:57:08Z

Kydkydkyd: Created page with "== Kyd Campbell: == TAPE ===concept=== I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one move..."

== [[Kyd Campbell]]: == TAPE
===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

=== process ===
UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3> 
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used PureData to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]] 
<videoflash type=vimeo>12737337|300|230</videoflash> 
<videoflash type=vimeo>12737800|300|230</videoflash>
<gallery>
Image:kpd1.jpg
Image:kpd2.jpg
Image:Looking1screen.jpg|Still
</gallery>
 

''video documentation video on the way''

GMU:Breaking the Timeline/projects

2011-01-16T19:11:01Z

Kydkydkyd: /* Kyd Campbell: */TAPE

File:Kpd2.jpg

2010-07-08T08:53:44Z

Kydkydkyd:

== Summary ==

== Copyright status: ==

== Source: ==

GMU:Breaking the Timeline/projects

2010-07-08T08:53:24Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

=== process ===
UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3> 
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used PureData to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]] 
<videoflash type=vimeo>12737337|300|230</videoflash> 
<videoflash type=vimeo>12737800|300|230</videoflash>
[[File:kpd1.jpg]] [[File:kpd2.jpg]]

 

''video documentation video on the way''

=== progress ===

On September 25th I will perform TAPE at TodaysArt festival in Den Haag. I will continue to develop the interface and AV materials until then.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

===Progress===
Searching the most similar frame to the current frame in the same source doesn't work so well. In a movie the next or previous frame to the current frame is almost always the most similar one. This results in the same video delayed oen frame. Using two sources and matching source1 to source2 works better.

Two different sources. Images are from source2, audio is from source1. Images are selected from source2 not only from similarity to the current frame of source1, but also from the overall difference to the previous frame, resulting in smoother image sequences that somtimes might be reversed. (source1 is Ger vs Aus, source2 is Ger vs Srb)
<videoflash type=vimeo>12747037|430|236</videoflash>

This is the Tagesschau (tagesschau.de/download/podcast/). Source1 (Tagesschau 25.06.2010 20:00) is compared with Source2 (Tagesschau 24.06.2010 20:00). Audio is from Source1, images from Source2. Again this is similarity by distance to the previous frame.
<videoflash type=vimeo>12887221|430|236</videoflash>

[http://vimeo.com/user3599886/videos More/older videos]

References:
* Bernhard Hopfengärtner: [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]
* Beom Kim: [http://www.mfah.org/ybf/ybf/artists/kim-news.html Untitled (News)], 2002
* Harun Farocki: [http://www.farocki-film.de/deep.htm Deep Play], 2007, [http://rhizome.org/editorial/3635 Deep Play on Rhizome]
* Purgand/Neumaier/Neupert: [http://www.burg-halle.de/~trimm/kunstrasen/neupert.htm Tipp-Kick Spiel], 2004

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

There is this reproduction of the first edition by [http://en.wikipedia.org/wiki/Orchises_Press Orchises Press] which looks similar [http://mason.gmu.edu/~lathbury/excerpts/urls/joyce.html]. Maybe you can ask them about the typeface, it looks the same as the original. --[[User:Matthias.breuer|Matthias.breuer]] 08:30, 1 July 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

hi sebastian, look at [http://cec.concordia.ca/econtact/12_3/menzies_controllers.html that flute] --[[User:Max|max]] 20:03, 21 June 2010 (UTC)

wtf!

File:Kpd1.jpg

2010-07-08T08:52:13Z

Kydkydkyd:

== Summary ==

== Copyright status: ==

== Source: ==

GMU:Breaking the Timeline/projects

2010-07-08T08:51:28Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

=== process ===
UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3> 
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used PureData to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]] 
<videoflash type=vimeo>12737337|300|230</videoflash> 
<videoflash type=vimeo>12737800|300|230</videoflash>
[[File:Example.jpg]] [[File:Example.jpg]]

 

''video documentation video on the way''

=== progress ===

On September 25th I will perform TAPE at TodaysArt festival in Den Haag. I will continue to develop the interface and AV materials until then.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

===Progress===
Searching the most similar frame to the current frame in the same source doesn't work so well. In a movie the next or previous frame to the current frame is almost always the most similar one. This results in the same video delayed oen frame. Using two sources and matching source1 to source2 works better.

Two different sources. Images are from source2, audio is from source1. Images are selected from source2 not only from similarity to the current frame of source1, but also from the overall difference to the previous frame, resulting in smoother image sequences that somtimes might be reversed. (source1 is Ger vs Aus, source2 is Ger vs Srb)
<videoflash type=vimeo>12747037|430|236</videoflash>

This is the Tagesschau (tagesschau.de/download/podcast/). Source1 (Tagesschau 25.06.2010 20:00) is compared with Source2 (Tagesschau 24.06.2010 20:00). Audio is from Source1, images from Source2. Again this is similarity by distance to the previous frame.
<videoflash type=vimeo>12887221|430|236</videoflash>

[http://vimeo.com/user3599886/videos More/older videos]

References:
* Bernhard Hopfengärtner: [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]
* Beom Kim: [http://www.mfah.org/ybf/ybf/artists/kim-news.html Untitled (News)], 2002
* Harun Farocki: [http://www.farocki-film.de/deep.htm Deep Play], 2007, [http://rhizome.org/editorial/3635 Deep Play on Rhizome]
* Purgand/Neumaier/Neupert: [http://www.burg-halle.de/~trimm/kunstrasen/neupert.htm Tipp-Kick Spiel], 2004

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

There is this reproduction of the first edition by [http://en.wikipedia.org/wiki/Orchises_Press Orchises Press] which looks similar [http://mason.gmu.edu/~lathbury/excerpts/urls/joyce.html]. Maybe you can ask them about the typeface, it looks the same as the original. --[[User:Matthias.breuer|Matthias.breuer]] 08:30, 1 July 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

hi sebastian, look at [http://cec.concordia.ca/econtact/12_3/menzies_controllers.html that flute] --[[User:Max|max]] 20:03, 21 June 2010 (UTC)

wtf!

GMU:Breaking the Timeline/projects

2010-07-08T08:37:37Z

Kydkydkyd: /* Kyd Campbell: */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

=== process ===
UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3> 
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used PureData to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]] 
<videoflash type=vimeo>12737337|300|230</videoflash> 
<videoflash type=vimeo>12737800|300|230</videoflash>

 

''video documentation video on the way''

=== progress ===

On September 25th I will perform TAPE at TodaysArt festival in Den Haag. I will continue to develop the interface and AV materials until then.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

===Progress===
Searching the most similar frame to the current frame in the same source doesn't work so well. In a movie the next or previous frame to the current frame is almost always the most similar one. This results in the same video delayed oen frame. Using two sources and matching source1 to source2 works better.

Two different sources. Images are from source2, audio is from source1. Images are selected from source2 not only from similarity to the current frame of source1, but also from the overall difference to the previous frame, resulting in smoother image sequences that somtimes might be reversed. (source1 is Ger vs Aus, source2 is Ger vs Srb)
<videoflash type=vimeo>12747037|430|236</videoflash>

This is the Tagesschau (tagesschau.de/download/podcast/). Source1 (Tagesschau 25.06.2010 20:00) is compared with Source2 (Tagesschau 24.06.2010 20:00). Audio is from Source1, images from Source2. Again this is similarity by distance to the previous frame.
<videoflash type=vimeo>12887221|430|236</videoflash>

[http://vimeo.com/user3599886/videos More/older videos]

References:
* Bernhard Hopfengärtner: [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]
* Beom Kim: [http://www.mfah.org/ybf/ybf/artists/kim-news.html Untitled (News)], 2002
* Harun Farocki: [http://www.farocki-film.de/deep.htm Deep Play], 2007, [http://rhizome.org/editorial/3635 Deep Play on Rhizome]
* Purgand/Neumaier/Neupert: [http://www.burg-halle.de/~trimm/kunstrasen/neupert.htm Tipp-Kick Spiel], 2004

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

There is this reproduction of the first edition by [http://en.wikipedia.org/wiki/Orchises_Press Orchises Press] which looks similar [http://mason.gmu.edu/~lathbury/excerpts/urls/joyce.html]. Maybe you can ask them about the typeface, it looks the same as the original. --[[User:Matthias.breuer|Matthias.breuer]] 08:30, 1 July 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

hi sebastian, look at [http://cec.concordia.ca/econtact/12_3/menzies_controllers.html that flute] --[[User:Max|max]] 20:03, 21 June 2010 (UTC)

wtf!

GMU:Breaking the Timeline/projects

2010-07-08T08:23:44Z

Kydkydkyd: /* Kyd Campbell: */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

=== process ===
UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3> 
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]] 
<videoflash type=vimeo>12737337|300|230</videoflash> 
<videoflash type=vimeo>12737800|300|230</videoflash>

 

I must think about the image processing; sound and also the screening format (single channel or multiple monitors; screening/performance setup or installation; large or small) For the moment I decided to make a single channel live projection, which I stand in front of, performing.

Technically, I used PureData to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files. 
''
documentation video on the way''

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

===Progress===
Searching the most similar frame to the current frame in the same source doesn't work so well. In a movie the next or previous frame to the current frame is almost always the most similar one. This results in the same video delayed oen frame. Using two sources and matching source1 to source2 works better.

Two different sources. Images are from source2, audio is from source1. Images are selected from source2 not only from similarity to the current frame of source1, but also from the overall difference to the previous frame, resulting in smoother image sequences that somtimes might be reversed. (source1 is Ger vs Aus, source2 is Ger vs Srb)
<videoflash type=vimeo>12747037|430|236</videoflash>

This is the Tagesschau (tagesschau.de/download/podcast/). Source1 (Tagesschau 25.06.2010 20:00) is compared with Source2 (Tagesschau 24.06.2010 20:00). Audio is from Source1, images from Source2. Again this is similarity by distance to the previous frame.
<videoflash type=vimeo>12887221|430|236</videoflash>

[http://vimeo.com/user3599886/videos More/older videos]

References:
* Bernhard Hopfengärtner: [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]
* Beom Kim: [http://www.mfah.org/ybf/ybf/artists/kim-news.html Untitled (News)], 2002
* Harun Farocki: [http://www.farocki-film.de/deep.htm Deep Play], 2007, [http://rhizome.org/editorial/3635 Deep Play on Rhizome]
* Purgand/Neumaier/Neupert: [http://www.burg-halle.de/~trimm/kunstrasen/neupert.htm Tipp-Kick Spiel], 2004

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

There is this reproduction of the first edition by [http://en.wikipedia.org/wiki/Orchises_Press Orchises Press] which looks similar [http://mason.gmu.edu/~lathbury/excerpts/urls/joyce.html]. Maybe you can ask them about the typeface, it looks the same as the original. --[[User:Matthias.breuer|Matthias.breuer]] 08:30, 1 July 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

hi sebastian, look at [http://cec.concordia.ca/econtact/12_3/menzies_controllers.html that flute] --[[User:Max|max]] 20:03, 21 June 2010 (UTC)

wtf!

GMU:Breaking the Timeline/projects

2010-06-22T11:12:19Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

===process===

UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3>
I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]
<videoflash type=vimeo>12737337|437|236</videoflash>
<videoflash type=vimeo>12737800|437|236</videoflash>

'''Collaborators please!'''~~ any feedback is more than welcome! 

I must think about the image processing; sound and also the screening format (single channel or multiple monitors; screening/performance setup or installation; large or small)

I'm undecided how I want to proceed technically. As described above, I have the idea to create a certain atmosphere for viewers, to move then into a perception gap. I have some stock footage or HD video, chopped into very small clips and I would like to begin by inserting this into a large amount of different softwares (or hardwares) to see what effects can be achieved. 

* if anyone is intested, I would really love to make a workshop session where different epople from the course take this footage and stick it into the different processing or editing tools they are familiar with, to see differents perceptions of the moving images I have. 
*'' is this something we could do together in class for an hour or so? Is anyone interested? Should we set-up an additional session for it?'' 
* possible tools to check out: different [[Pure Data|Pd]] patches, different editing softwares and filters, trying to watch it on different projectors, multiple monitors, self-made patches, specialized slow and fast motion HD plugins... I'm really open at this stage to try the footage out in any setting.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
Besides doing some research and experimenting I am trying to do one smaller project.

The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

===Progress===
Searching the most similar frame to the current frame in the same source doesn't work so well. In a movie the next or previous frame to the current frame is almost always the most similar one. This results in the same video delayed oen frame. Using two sources and matching source1 to source2 works better.

The following video is a test using two different sources (both soccer games). The current frame of source1 is matched to source2, the result from source2 is displayed.
<videoflash type=vimeo>12739899|437|236</videoflash>

Again two different sources. Images are from source2, audio is from source1. Images are selected from source2 not only from similarity to the current frame of source1, but also from the overall difference to the previous frame, resulting in smoother image sequences that somtimes might be reversed. (source1 is Ger vs Aus, source2 is Ger vs Srb)
<videoflash type=vimeo>12747037|437|236</videoflash>

References:
* Bernhard Hopfengärtner [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

hi sebastian, look at [http://cec.concordia.ca/econtact/12_3/menzies_controllers.html that flute] --[[User:Max|max]] 20:03, 21 June 2010 (UTC)

wtf!

GMU:Breaking the Timeline/projects

2010-06-21T15:33:38Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

===process===

UPDATE: 20 June.2010

I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3>
<videoflash type=vimeo>12737337|437|236</videoflash>
<videoflash type=vimeo>12737800|437|236</videoflash>

'''Collaborators please!'''~~ any feedback is more than welcome! 

I must think about the image processing; sound and also the screening format (single channel or multiple monitors; screening/performance setup or installation; large or small)

I'm undecided how I want to proceed technically. As described above, I have the idea to create a certain atmosphere for viewers, to move then into a perception gap. I have some stock footage or HD video, chopped into very small clips and I would like to begin by inserting this into a large amount of different softwares (or hardwares) to see what effects can be achieved. 

* if anyone is intested, I would really love to make a workshop session where different epople from the course take this footage and stick it into the different processing or editing tools they are familiar with, to see differents perceptions of the moving images I have. 
*'' is this something we could do together in class for an hour or so? Is anyone interested? Should we set-up an additional session for it?'' 
* possible tools to check out: different [[Pure Data|Pd]] patches, different editing softwares and filters, trying to watch it on different projectors, multiple monitors, self-made patches, specialized slow and fast motion HD plugins... I'm really open at this stage to try the footage out in any setting.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
Besides doing some research and experimenting I am trying to do one smaller project.

The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

References:
* Bernhard Hopfengärtner [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

GMU:Breaking the Timeline/projects

2010-06-21T15:16:26Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

===process===

UPDATE: 20 June.2010

I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3>
<videoflash type=vimeo>12737337|437|236</videoflash>
<videoflash type=vimeo>########|437|236</videoflash>

'''Collaborators please!'''~~ any feedback is more than welcome! 

I must think about the image processing; sound and also the screening format (single channel or multiple monitors; screening/performance setup or installation; large or small)

I'm undecided how I want to proceed technically. As described above, I have the idea to create a certain atmosphere for viewers, to move then into a perception gap. I have some stock footage or HD video, chopped into very small clips and I would like to begin by inserting this into a large amount of different softwares (or hardwares) to see what effects can be achieved. 

* if anyone is intested, I would really love to make a workshop session where different epople from the course take this footage and stick it into the different processing or editing tools they are familiar with, to see differents perceptions of the moving images I have. 
*'' is this something we could do together in class for an hour or so? Is anyone interested? Should we set-up an additional session for it?'' 
* possible tools to check out: different [[Pure Data|Pd]] patches, different editing softwares and filters, trying to watch it on different projectors, multiple monitors, self-made patches, specialized slow and fast motion HD plugins... I'm really open at this stage to try the footage out in any setting.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
Besides doing some research and experimenting I am trying to do one smaller project.

The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

References:
* Bernhard Hopfengärtner [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

GMU:Breaking the Timeline/projects

2010-06-21T14:19:04Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

===process===

UPDATE: 20 June.2010

I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3>
<videoflash type=vimeo>#######|437|236</videoflash>

'''Collaborators please!'''~~ any feedback is more than welcome! 

I must think about the image processing; sound and also the screening format (single channel or multiple monitors; screening/performance setup or installation; large or small)

I'm undecided how I want to proceed technically. As described above, I have the idea to create a certain atmosphere for viewers, to move then into a perception gap. I have some stock footage or HD video, chopped into very small clips and I would like to begin by inserting this into a large amount of different softwares (or hardwares) to see what effects can be achieved. 

* if anyone is intested, I would really love to make a workshop session where different epople from the course take this footage and stick it into the different processing or editing tools they are familiar with, to see differents perceptions of the moving images I have. 
*'' is this something we could do together in class for an hour or so? Is anyone interested? Should we set-up an additional session for it?'' 
* possible tools to check out: different [[Pure Data|Pd]] patches, different editing softwares and filters, trying to watch it on different projectors, multiple monitors, self-made patches, specialized slow and fast motion HD plugins... I'm really open at this stage to try the footage out in any setting.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
Besides doing some research and experimenting I am trying to do one smaller project.

The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

References:
* Bernhard Hopfengärtner [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

GMU:Breaking the Timeline/projects

2010-06-21T14:17:30Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

===process===

UPDATE: 20 June.2010

I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3>

[[File:Tape_sound8.mp3]] [[File:Example.jpg]]

'''Collaborators please!'''~~ any feedback is more than welcome! 

I must think about the image processing; sound and also the screening format (single channel or multiple monitors; screening/performance setup or installation; large or small)

I'm undecided how I want to proceed technically. As described above, I have the idea to create a certain atmosphere for viewers, to move then into a perception gap. I have some stock footage or HD video, chopped into very small clips and I would like to begin by inserting this into a large amount of different softwares (or hardwares) to see what effects can be achieved. 

* if anyone is intested, I would really love to make a workshop session where different epople from the course take this footage and stick it into the different processing or editing tools they are familiar with, to see differents perceptions of the moving images I have. 
*'' is this something we could do together in class for an hour or so? Is anyone interested? Should we set-up an additional session for it?'' 
* possible tools to check out: different [[Pure Data|Pd]] patches, different editing softwares and filters, trying to watch it on different projectors, multiple monitors, self-made patches, specialized slow and fast motion HD plugins... I'm really open at this stage to try the footage out in any setting.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
Besides doing some research and experimenting I am trying to do one smaller project.

The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

References:
* Bernhard Hopfengärtner [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

GMU:Breaking the Timeline/projects

2010-06-21T14:16:58Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

===process===

UPDATE: 20 June.2010

I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]
<flashmp3 id="Tape_sound8.mp3">Tape_sound8.mp3|parameter=value|...</flashmp3>

[[File:Tape_sound8.mp3]] [[File:Example.jpg]]

'''Collaborators please!'''~~ any feedback is more than welcome! 

I must think about the image processing; sound and also the screening format (single channel or multiple monitors; screening/performance setup or installation; large or small)

I'm undecided how I want to proceed technically. As described above, I have the idea to create a certain atmosphere for viewers, to move then into a perception gap. I have some stock footage or HD video, chopped into very small clips and I would like to begin by inserting this into a large amount of different softwares (or hardwares) to see what effects can be achieved. 

* if anyone is intested, I would really love to make a workshop session where different epople from the course take this footage and stick it into the different processing or editing tools they are familiar with, to see differents perceptions of the moving images I have. 
*'' is this something we could do together in class for an hour or so? Is anyone interested? Should we set-up an additional session for it?'' 
* possible tools to check out: different [[Pure Data|Pd]] patches, different editing softwares and filters, trying to watch it on different projectors, multiple monitors, self-made patches, specialized slow and fast motion HD plugins... I'm really open at this stage to try the footage out in any setting.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
Besides doing some research and experimenting I am trying to do one smaller project.

The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

References:
* Bernhard Hopfengärtner [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]

GMU:Breaking the Timeline/projects

2010-06-21T14:15:07Z

Kydkydkyd: /* process */

Projects from the course [[GMU:Breaking the Timeline|Breaking the Timeline]], a [[:Category:Fachmodul|Fachmodul]] by [[Max Neupert]], [[GMU:Start|Gestaltung medialer Umgebungen]] [[:Category:SS10|Summer Semester 2010]]:

== [[Kyd Campbell]]: ==
[[Image:Looking1screen.jpg|right|thumb|300px|Still]]

===concept===
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.

In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.

I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.

The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.

===process===

UPDATE: 20 June.2010

I have recorded the [http://www.foruse.info numen/foruse] team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance.

[[Image:tape1.jpg|right|thumb|300px|Tape Pic 1]]

[[File:Tape_sound8.mp3]] [[File:Example.jpg]]

'''Collaborators please!'''~~ any feedback is more than welcome! 

I must think about the image processing; sound and also the screening format (single channel or multiple monitors; screening/performance setup or installation; large or small)

I'm undecided how I want to proceed technically. As described above, I have the idea to create a certain atmosphere for viewers, to move then into a perception gap. I have some stock footage or HD video, chopped into very small clips and I would like to begin by inserting this into a large amount of different softwares (or hardwares) to see what effects can be achieved. 

* if anyone is intested, I would really love to make a workshop session where different epople from the course take this footage and stick it into the different processing or editing tools they are familiar with, to see differents perceptions of the moving images I have. 
*'' is this something we could do together in class for an hour or so? Is anyone interested? Should we set-up an additional session for it?'' 
* possible tools to check out: different [[Pure Data|Pd]] patches, different editing softwares and filters, trying to watch it on different projectors, multiple monitors, self-made patches, specialized slow and fast motion HD plugins... I'm really open at this stage to try the footage out in any setting.

== [[Andreas Beyer]]: Prosody==

the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.

== [[Anja Erdmann]]: ==

- in this class i will get to work on "Schatten→Klang"
* [[GMU:Audio+Video/projekte/Schatten→Klang]]

== [[Dominique Wollniok]]: ==

===Konzept===

[[File:Dominique_Anschauung_gesamt.jpg|right|thumb|300px|Skizze]]

'''Idee:'''

In einem Raum kann man durch Bewegung Geräusche auslösen.
Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen.
Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft.
Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.

'''Ziel:'''

Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen.
Der Körper des Besuchers ist Auslöser der Geräusche.
Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin.
Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders.
Es entsteht ein anderer, interaktiver Zugang zur Landschaft.

''Ton:''
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten.
Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben.
Die Ton-Ausgabe geschieht über eine 5.1 Anlage.

''Tracking:''
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst.
Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr.
Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein.
Einzelne Geräusche werden durch entsprechende Positionen ausgelöst.
Das geschieht über ein Tracking in x-y-Ausrichtung.
Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.

<gallery>
File:Dominique_Anschauung_gesamt-mit-lautsprechern.jpg
File:Dominique_Anschauung_gesamt-mit-lautsprechern2.jpg
</gallery>

''Anstehende Tests:''
* Geräusch-Selektion einer Soundscape
* Lautsprecher-Aufstellung
* Foto oder Video der Ausgangslandschaft
* Rasterform (Drei- oder Viereck) für Tracking

== [[Hyun Ju Song]]: a emotion switcher ==
# Abstract Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. 
#Principle There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
<gallery>
File:Frames_ideasketch.png‎|idea sketch
File:Anger_test.png|test - anger
</gallery>
 

== [[Jeffers Egan]]: ==

===Theory===
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.

===Practice===
I have been invited to perform Live Visuals with [http://www.myspace.com/vidderna vidderna], at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.

Technically I am building a visual instrument in [http://www.derivative.ca Touch Designer], . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some [[GLSL]] shaders into 2D filters I can use in the compositing system.

I will also create new artwork specifically for this performance.

== [[Matthias Breuer]]: Deconstructing the truth==
Besides doing some research and experimenting I am trying to do one smaller project.

The project focuses on the truth and reality of the images we see. Taking any kind of video source as input, the stream's audio channel is continously played back. The corresponding frame is calculated from similarity to all previous frames. The most similar frame will be displayed. Each new frame is then placed in a database for comparison with forthcoming frames. This creates a steadily growing and learning mass which—after some time—can replace ''reality'' with frames from the past. At that point no clear distinction between reality and fiction can be made anymore.

Similarity between frames depend on an amount of chosen factors. Most commmon are histogram, structure etc. but always depend on the features one sees as important in an image. It's not important to match the look of a frame as close as possible but to match a frame in a given set of interests.

References:
* Bernhard Hopfengärtner [[GMU:Works#Bernhard Hopfengärtner: TANZMASCHINE|Tanzmaschine]]
* Sven König: [http://www.popmodernism.org/scrambledhackz sCrAmBlEd?HaCkZ!]
* Perry Bard: [http://dziga.perrybard.net global remake project]

== [[Maureen Anderson]]: Ulysses==

===The Starting Point===
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though ''Ulysses'' depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist in a "definitive edition."

===The Experiment===
I will be working with speech-to-text dictation software to re-write Joyce's ''Ulysses.'' Though current speech-to-text software has acchieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.

Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of ''Ulysses'' has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of ''Ulysses'' went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition. In the future, it would be interesting to work with translations of ''Ulysses''. The speech-to-text dictation software I've been using has given similar results.

James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. ''Ulysses'' alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it was his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. With this in mind, it was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to acurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files, but they are often further broken down by specialization, accent or region including a separate category for "American teen."

While running tests it has often occurred that many words and phrases from ''Ulysses'' were matched with those from a contemporary American lexicon:

answered through the calm...answered.com

come up, Kinch...cut low jeans

Buck Mulligan...black militant

''Introibo ad altare Dei''...NGO well at all that day

and made...MAO ''(as in Monoamine Oxidase inhibitor)''

This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.

Suggestions
* [http://www.medienkunstnetz.de/works/schalten-und-walten Peter Dittmer]: [http://www.dieamme.de Die Amme]
* [http://developer.apple.com/applescript Applescript]
--[[User:Max|max]] 17:39, 10 June 2010 (UTC)

== [[Natercia Chang]]: Mutually Intelligible ==

===Background===
# I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
# I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
# The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.

===Concept===
# Select a (or some) German movies and extract some of the scenes and/or shots without the audio
# Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
# Synchronise the extracted images and audio and export it as a short video
# Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)

==Sebastian Wolf==
[[Image:VideoRecorder.jpg|right|thumb|250px|"VideoRecorder"]]

Those were two rather rough concepts waiting for more detail work.

* a video-controlling musical [[Instruments|instrument]], a digital flute
* ldrs controlling pitch/color channels or triggering specific scenes (there's an infinite number of possibilities actually)
* a microphone manipulating loudness/brightness/speed of the video or so

I think I will stick with the [[Instruments|instrument]]-idea, starting with some [[Arduino]]-/electronics-/sensor- experiments and some research on how a real flute actually works, how the sound is produced and what the possibilities to control those sounds are. The mapping in [[Pure Data|Pd]] will probably be the most tricky part, so I will have to work on that simultaneously.

[[File:BTTLVideoFlute01.JPG|left|thumb|250px]]
[[File:BTTLVideoFlute02.JPG|left|thumb|250px]]