Medien Wiki - User contributions [en]

Lotta Stöver

2026-04-01T13:51:47Z

Lotta:

Lotta Stöver works as an artist in the fields of media, technologies and research.

Her works engage with phenomena, energies and matters where they converse, disobey, transform, de/transition and mutate along with new technologies. Through processes of poetic engineering and experimental imaging methods, her practice poses research questions about data and the material world in an embedded and embodied manner. Often involving experiments these materialize as interactive installations and kinetic sculptures, incorporating electronics, self-built machines and hand-written texts, both executable and readable. Her work aims to break with the dominant narratives around our largely technologically-mediated social reality and tries to enact alternative technological (and non-technological) immediacies.

Since September 2024, she is lecturing in the fields of ''Printed Electronics + Tangible Interfaces'' at the [[IFD:Start|Interface Design]] chair, within the Media Art + Design department of the Bauhaus-Universität Weimar.

You can find me in: Marienstr. 5, Room 108. Or contact me on Mattermost or via [mailto:lotta.stoever@uni-weimar.de lotta.stoever@uni-weimar.de].

* https://lotta-stoever.net/
* https://teaching.lotta-stoever.net/
* [https://www.uni-weimar.de/en/art-and-design/structure/disciplines-staff/media-art-and-design/lotta-stoever/ https://www.uni-weimar.de/.../lotta-stoever/]

All wiki pages in the [[:Category: Lotta Stöver]]

Lotta Stöver

2026-04-01T13:51:03Z

Lotta:

Lotta Stöver works as an artist in the fields of media, technologies and research.

Her works engage with phenomena, energies and matters where they converse, disobey, transform, de/transition and mutate along with new technologies. Through processes of poetic engineering and experimental imaging methods, her practice poses research questions about data and the material world in an embedded and embodied manner. Often involving experiments these materialize as interactive installations and kinetic sculptures, incorporating electronics, self-built machines and hand-written texts, both executable and readable. Her work aims to break with the dominant narratives around our largely technologically-mediated social reality and tries to enact alternative technological (and non-technological) immediacies.

Since September 2024, she is lecturing in the fields of ''Printed Electronics + Tangible Interfaces'' at the [[IFD:Start|Interface Design]] chair, within the Media Art + Design department of the Bauhaus-Universität Weimar.

You can find me in: Marienstr. 5, Room 108. Or contact me on Mattermost or via [mailto:lotta.stoever@uni-weimar.de lotta.stoever@uni-weimar.de].

* https://lotta-stoever.net/
* https://teaching.lotta-stoever.net/

All wiki pages in the [[:Category: Lotta Stöver]]

Lotta Stöver

2026-04-01T13:50:45Z

Lotta:

Lotta Stöver works as an artist in the fields of media, technologies and research.

Her works engage with phenomena, energies and matters where they converse, disobey, transform, de/transition and mutate along with new technologies. Through processes of poetic engineering and experimental imaging methods, her practice poses research questions about data and the material world in an embedded and embodied manner. Often involving experiments these materialize as interactive installations and kinetic sculptures, incorporating electronics, self-built machines and hand-written texts, both executable and readable. Her work aims to break with the dominant narratives around our largely technologically-mediated social reality and tries to enact alternative technological (and non-technological) immediacies.

Since September 2024, she is lecturing in the fields of ''Printed Electronics + Tangible Interfaces'' at the [[IFD:Start|Interface Design]] chair, within the Media Art + Design department of the Bauhaus-Universität Weimar.

You can find me in: Marienstr. 5, Room 108. Or contact me via [mailto:lotta.stoever@uni-weimar.de lotta.stoever@uni-weimar.de].

* https://lotta-stoever.net/
* https://teaching.lotta-stoever.net/

All wiki pages in the [[:Category: Lotta Stöver]]

IFD:FPM SoSe26

2026-04-01T13:49:44Z

Lotta: /* Open Project Module */

= Open Project Module =

[[:Category:Projektmodul|Projektmodul]] '' / Project Module'' 
''Instructor:'' Prof. [[Martin Hesselmeier]], Brian L. Clark, Ting-Chun Liu, [[Lotta Stöver]] 
''Credits:'' 18 [[ECTS]], 16 [[SWS]] 
''Capacity:'' max. 10 students 
''Language:'' english, deutsch 
''[[Zeitraster|Date]]:'' See below; Consultations by appointment 
''Location:'' TBA 
''First Meeting:'' MON 2026-04-20 - 15:30 (More information regarding the first meeting will be sent to accepted participants by email.) 
''BISON NR: TBA'' 

====== Description ======
With this project module students can initiate their own self-directed project, while still being provided conceptual and technical support. Students are encouraged to propose a practice-based artistic/design research project that is in line with their own interests and growing body of work. We support proposals that aim to arguably develop the students’ portfolio, skills and overall work in the field of:

Interactive Art / Light Art / Energy Harvesting / Physical, Tangible Computing / Spatial Interaction / Architectural Interfaces / 2D/3D Prototyping & Printed Electronics / Mobile, Location-based Applications / Artistic Research / Embodied Data

====== Workload ======
The granted credits for a project module are 18 ECTS and 16 SWS, which roughly translates to a work/study load of ca. 500 hours. This open project module is only suitable for students who are able to properly and consistently self-organize their time, energy and efforts. While we are going to be available for individual consultations and - if agreed - irregularly check in with you, you will have the freedom and responsibility to structure your own time, etc.

====== Application ======
If you would like to initiate a project in the framing of this Open Project Module, please send us an e-mail to [mailto:lotta.stoever@uni-weimar.de lotta.stoever@uni-weimar.de], including:
* '''a brief project proposal''' that explains your project idea, why you are interested to work on this and how it helps you to develop your portfolio and artistic/design practice further
* '''a schedule''' that gives a realistic overview of how you are structuring the development of your project
Please include the following dates for your schedule:

* MON 2026-04-20 - 15:30 -- Brief Kick-off meeting
* WED 2026-05-27 - 13:30 -- Intermediary Presentation
* WED 2026-07-08 - 09:30 -- Final presentation during Summaery

For additional consultations, you can join our more or less regular open slots for individual talks.

==== Certificate of achievement ====

* Effort and quality of the project proposal
* Significant development of your individual project
* Participation in the kick-off meeting, as well as in the intermediary, end presentation which may involve an exhibition at the Summaery
* Submission of the documentation (until end of semester)

Template:IFD SS26

2026-04-01T12:44:28Z

Lotta:

[[File:Curriculum Overview Summer Semester 26.jpg|550x550px]]

 
IFD Semester Course Presentation will take place on''' Wednesday, 1 April 2026 from 12:15 - 12:45''' on BigBlueButton: 
https://www.uni-weimar.de/en/art-and-design/news/important-information-for-students-for-suse-2026/course-selection-and-project-presentations-plenary-sessions/
 
 
Projektmodule / Project Modules:
* [[IFD:PM_SoSe26|Batteries Not Included – Solar Energy as Artistic Material]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_SoSe26|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier, Ting-Chun Liu, Brian L. Clark, Lotta Stöver''
 
Fachmodule:
* [[IFD:DV_101_3D_SoSe26|3D-Print Lab 101]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_SoSe26|Batteries Not Included]]'' (Fachmodul MFA) - Brian Larson Clark''
* [[IFD:DV_FM_SoSe26|Photogrammetry 101]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:SwPCS_SoSe26|Sculpting with Printed Circuit Spaces]]'' (Fachmodul BA/MA) - Lotta Stöver''

 
Kolloquium:
* [[IFD:Kolloq_SoSe26|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

IFD:Start

2026-04-01T12:44:10Z

Lotta:

<blockquote>
We design, develop and implement interfaces and applications that enable and facilitate access to the digital world in interactive, networked and physical environments. 
</blockquote>'''Welcome to the Interface Design MediaWiki!''' '''''Willkommen im MediaWiki der Professur Interface Design!'''''

=== Overview ===
* [[Conceptual Support Resources for Students]]
* [[Infos about IFD Labs and Workshops]]
* [[Knowledge Database|IFD Knowledge Database]]
* [http://www.uni-weimar.de/de/kunst-und-gestaltung/professuren/interface-design/ Professorship Website]
* [http://www.uni-weimar.de/de/kunst-und-gestaltung/professuren/interface-design/people/ Professorship Staff and Contact Information]

 
 '''Offered ''Projektmodule'' and ''Fachmodule'':'''

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== Featured Content ==
* [[IFD:Digital_Bauhaus_Vorkurs|Digital Bauhaus]]

* [[Crash Course Programming for Arduino|Quickstart Programming for Arduino]]
* [[IFD:Grundlagen der Webprogrammierung|Basics of Web Programming]]
* [[Interfaces|Interfaces Mensch-Maschine]] (Linkliste)
* [[Mobile Interaction]]
* [[Multitouch]]
* [[Tracking Motion Detection|Übersicht Motion-Capturing/-Detection/-Tracking]]
* [[:Category:Theorie|Übersicht Kategorie "Theorie"]]

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[[Category:Interface-Design]]

Lotta Stöver

2026-04-01T12:43:04Z

Lotta:

Lotta Stöver works as an artist in the fields of media, technologies and research.

Her works engage with phenomena, energies and matters where they converse, disobey, transform, de/transition and mutate along with new technologies. Through processes of poetic engineering and experimental imaging methods, her practice poses research questions about data and the material world in an embedded and embodied manner. Often involving experiments these materialize as interactive installations and kinetic sculptures, incorporating electronics, self-built machines and hand-written texts, both executable and readable. Her work aims to break with the dominant narratives around our largely technologically-mediated social reality and tries to enact alternative technological (and non-technological) immediacies.

Since September 2024, she is lecturing in the fields of ''Printed Electronics + Tangible Interfaces'' at the [[IFD:Start|Interface Design]] chair, within the Media Art + Design department of the Bauhaus-Universität Weimar.

* https://lotta-stoever.net/
* https://teaching.lotta-stoever.net/

All wiki pages in the [[:Category: Lotta Stöver]]

IFD:SwPCS SoSe26

2026-04-01T12:41:43Z

Lotta:

''Instructor:'' [[Lotta Stöver]]

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Capacity:'' max. 15 students

''Language:'' English

''[[Zeitraster|Date]]:'' Montag/Monday, 11:00 - 15:30

''Location:'' Marienstr. 7B, Room 002

''First Meeting:'' MON 2026-04-13

''BISON Nr.: 326110016''

==== Description: ====

The Printed Circuit Board (PCB) has become the default architecture of the electronic devices that are driving our largely technologically-mediated reality: Electronic components on two-dimensional stacked layers are routing power and signals, energy and material, usually optimized towards signal integrity, power efficiency, profitable use of material, etc.

A part of this Fachmodul will be to give an introduction to common PCB design and manufacturing practices, with a large emphasis on interventions in the underlying conventions and assumptions that are implied by the state of the art, industrial "best" practices: What happens if the PCB becomes an open space? What alternatives architectures can we imagine if we come up with our own experimental, irrational, expression-oriented rules? What new dys/functions, alternative energy regimes and materialities, shapes and overall new artistic and design gestures may result from that? In this Fachmodul we will no longer pretend to be electrical engineers, but instead try to discover electronics as a spatial medium in itself.
==== More practially speaking, this class will be scheduled around the following milestones: ====

* a beginner-friendly introduction to electronics for artists and designers
* a tutorial on [https://www.kicad.org/ KiCAD] ( open source PCB design software )
* an introduction to milling our own PCBs in our workshop
* a series of hands-on sessions to develop sculptural / installation works based on our gained knowledge in electronics and circuit design

If you would like to join this class, please write me ( lotta.stoever@uni-weimar.de ) a short e-mail with your (user-)name, study background and '''briefly''' describe your interest in the class (max. 200 words).
==== Certificate of achievement ====

* Presence, regular and active attendance and participation
* Participation in the mid and end presentation
* Submission of the documentation (until the end of semester)

Template:IFD SS26

2026-04-01T12:40:55Z

Lotta:

[[File:Curriculum Overview Summer Semester 26.jpg|550x550px]]

 
IFD Semester Course Presentation will take place on''' Wednesday, 1 April 2026 from 12:15 - 12:45''' on BigBlueButton:
https://www.uni-weimar.de/en/art-and-design/news/important-information-for-students-for-suse-2026/course-selection-and-project-presentations-plenary-sessions/
 
 
Projektmodule / Project Modules:
* [[IFD:PM_SoSe26|Batteries Not Included – Solar Energy as Artistic Material]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_SoSe26|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier, Ting-Chun Liu, Brian L. Clark, Lotta Stöver''
 
Fachmodule:
* [[IFD:DV_101_3D_SoSe26|3D-Print Lab 101]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_SoSe26|Batteries Not Included]]'' (Fachmodul MFA) - Brian Larson Clark''
* [[IFD:DV_FM_SoSe26|Photogrammetry 101]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:SwPCS_SoSe26|Sculpting with Printed Circuit Spaces]]'' (Fachmodul BA/MA) - Lotta Stöver''

 
Kolloquium:
* [[IFD:Kolloq_SoSe26|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

Template:IFD SS26

2026-04-01T12:40:30Z

Lotta:

[[File:Curriculum Overview Summer Semester 26.jpg|550x550px]]

 
IFD Semester Course Presentation will take place 
on Wednesday, 1 April 2026 from 12:15 - 12:45 on BigBlueButton:
https://www.uni-weimar.de/en/art-and-design/news/important-information-for-students-for-suse-2026/course-selection-and-project-presentations-plenary-sessions/
 
 
Projektmodule / Project Modules:
* [[IFD:PM_SoSe26|Batteries Not Included – Solar Energy as Artistic Material]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_SoSe26|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier, Ting-Chun Liu, Brian L. Clark, Lotta Stöver''
 
Fachmodule:
* [[IFD:DV_101_3D_SoSe26|3D-Print Lab 101]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_SoSe26|Batteries Not Included]]'' (Fachmodul MFA) - Brian Larson Clark''
* [[IFD:DV_FM_SoSe26|Photogrammetry 101]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:SwPCS_SoSe26|Sculpting with Printed Circuit Spaces]]'' (Fachmodul BA/MA) - Lotta Stöver''

 
Kolloquium:
* [[IFD:Kolloq_SoSe26|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

Lotta Stöver

2026-04-01T12:39:33Z

Lotta:

Lotta Stöver works as an artist in the fields of media, technologies and research.

Her works engage with phenomena, energies and matters where they converse, disobey, transform, de/transition and mutate along with new technologies. Through processes of poetic engineering and experimental imaging methods, her practice poses research questions about data and the material world in an embedded and embodied manner. Often involving experiments these materialize as interactive installations and kinetic sculptures, incorporating electronics, self-built machines and hand-written texts, both executable and readable. Her work aims to break with the dominant narratives around our largely technologically-mediated social reality and tries to enact alternative technological (and non-technological) immediacies.

Since September 2024, she is lecturing in the fields of ''Printed Electronics + Tangible Interfaces'' at the [[Interface Design]] chair, within the Media Art + Design department of the Bauhaus-Universität Weimar.

* https://lotta-stoever.net/
* https://teaching.lotta-stoever.net/

All wiki pages in the [[:Category: Lotta Stöver]]

Lotta Stöver

2026-04-01T12:37:49Z

Lotta: Created page with "Lotta Stöver works as an artist in the fields of media, technologies and research. Her works engage with phenomena, energies and matters where they converse, disobey, transform, de/transition and mutate along with new technologies. Through processes of poetic engineering and experimental imaging methods, her practice poses research questions about data and the material world in an embedded and embodied manner. Often involving experiments these materialize as interacti..."

Lotta Stöver works as an artist in the fields of media, technologies and research.

Her works engage with phenomena, energies and matters where they converse, disobey, transform, de/transition and mutate along with new technologies. Through processes of poetic engineering and experimental imaging methods, her practice poses research questions about data and the material world in an embedded and embodied manner. Often involving experiments these materialize as interactive installations and kinetic sculptures, incorporating electronics, self-built machines and hand-written texts, both executable and readable. Her work aims to break with the dominant narratives around our largely technologically-mediated social reality and tries to enact alternative technological (and non-technological) immediacies.

Since September 2024, she is lecturing in the fields of Printed Electronics + Tangible Interfaces at the Interface Design chair, within the Media Art + Design department of the Bauhaus-Universität Weimar.

https://lotta-stoever.net/

https://teaching.lotta-stoever.net/

All wiki pages in the [[:Category: Lotta Stöver]]

IFD:SwPCS SoSe26

2026-04-01T12:32:56Z

Lotta:

''Instructor:'' [[Lotta Stöver]]

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Capacity:'' max. 15 students

''Language:'' English

''[[Zeitraster|Date]]:'' Montag/Monday, 11:00 - 15:30

''Location:'' Marienstr. 7B, Room 002

''First Meeting:'' MON 2026-04-13

''BISON Nr.: 326110016''

==== Description: ====

The Printed Circuit Board (PCB) has become the default architecture of the electronic devices that are driving our largely technologically-mediated reality: Electronic components on two-dimensional stacked layers are routing power and signals, energy and material, usually optimized towards signal integrity, power efficiency, profitable use of material, etc.

A part of this Fachmodul will be to give an introduction to common PCB design and manufacturing practices, with a large emphasis on interventions in the underlying conventions and assumptions that are implied by the state of the art, industrial "best" practices: What happens if the PCB becomes an open space? What alternatives architectures can we imagine if we come up with our own experimental, irrational, expression-oriented rules? What new dys/functions, alternative energy regimes and materialities, shapes and overall new artistic and design gestures may result from that? In this Fachmodul we will no longer pretend to be electrical engineers, but instead try to discover electronics as a spatial medium in itself.

==== More practially speaking, this class will be scheduled around the following milestones: ====

* a beginner-friendly introduction to electronics for artists and designers
* a tutorial on [https://www.kicad.org/ KiCAD] ( open source PCB design software )
* an introduction to milling our own PCBs in our workshop
* a series of hands-on sessions to develop sculptural / installation works based on our gained knowledge in electronics and circuit design

If you would like to join this class, please write me ( lotta.stoever@uni-weimar.de ) a short e-mail with your (user-)name, study background and '''briefly''' describe your interest in the class (max. 200 words).

==== Certificate of achievement ====

* Presence, regular and active attendance and participation
* Participation in the mid and end presentation
* Submission of the documentation (until the end of semester)

IFD:SwPCS SoSe26

2026-04-01T12:32:42Z

Lotta:

''Instructor:'' [[Lotta Stöver]]

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Capacity:'' max. 15 students

''Language:'' English

''[[Zeitraster|Date]]:'' Montag/Monday, 11:00 - 15:30

''Location:'' Marienstr. 7B, Room 002

''First Meeting:'' '''MON 2026-04-13'''

''BISON Nr.: 326110016''

==== Description: ====

The Printed Circuit Board (PCB) has become the default architecture of the electronic devices that are driving our largely technologically-mediated reality: Electronic components on two-dimensional stacked layers are routing power and signals, energy and material, usually optimized towards signal integrity, power efficiency, profitable use of material, etc.

A part of this Fachmodul will be to give an introduction to common PCB design and manufacturing practices, with a large emphasis on interventions in the underlying conventions and assumptions that are implied by the state of the art, industrial "best" practices: What happens if the PCB becomes an open space? What alternatives architectures can we imagine if we come up with our own experimental, irrational, expression-oriented rules? What new dys/functions, alternative energy regimes and materialities, shapes and overall new artistic and design gestures may result from that? In this Fachmodul we will no longer pretend to be electrical engineers, but instead try to discover electronics as a spatial medium in itself.

==== More practially speaking, this class will be scheduled around the following milestones: ====

* a beginner-friendly introduction to electronics for artists and designers
* a tutorial on [https://www.kicad.org/ KiCAD] ( open source PCB design software )
* an introduction to milling our own PCBs in our workshop
* a series of hands-on sessions to develop sculptural / installation works based on our gained knowledge in electronics and circuit design

If you would like to join this class, please write me ( lotta.stoever@uni-weimar.de ) a short e-mail with your (user-)name, study background and '''briefly''' describe your interest in the class (max. 200 words).

==== Certificate of achievement ====

* Presence, regular and active attendance and participation
* Participation in the mid and end presentation
* Submission of the documentation (until the end of semester)

IFD:SwPCS SoSe26

2026-04-01T12:32:09Z

Lotta:

''Instructor:'' [[Lotta Stöver]]

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Capacity:'' max. 15 students

''Language:'' English

''[[Zeitraster|Date]]:'' Montag/Monday, 11:00 - 15:30

''Location:'' Marienstr. 7B, Room 002

''First Meeting:'' '''MON 2026-04-13'''

''BISON Nr.: 326110016''

The Printed Circuit Board (PCB) has become the default architecture of the electronic devices that are driving our largely technologically-mediated reality: Electronic components on two-dimensional stacked layers are routing power and signals, energy and material, usually optimized towards signal integrity, power efficiency, profitable use of material, etc.

A part of this Fachmodul will be to give an introduction to common PCB design and manufacturing practices, with a large emphasis on interventions in the underlying conventions and assumptions that are implied by the state of the art, industrial "best" practices: What happens if the PCB becomes an open space? What alternatives architectures can we imagine if we come up with our own experimental, irrational, expression-oriented rules? What new dys/functions, alternative energy regimes and materialities, shapes and overall new artistic and design gestures may result from that? In this Fachmodul we will no longer pretend to be electrical engineers, but instead try to discover electronics as a spatial medium in itself.

==== More practially speaking, this class will be scheduled around the following milestones: ====

* a beginner-friendly introduction to electronics for artists and designers
* a tutorial on [https://www.kicad.org/ KiCAD] ( open source PCB design software )
* an introduction to milling our own PCBs in our workshop
* a series of hands-on sessions to develop sculptural / installation works based on our gained knowledge in electronics and circuit design

If you would like to join this class, please write me ( lotta.stoever@uni-weimar.de ) a short e-mail with your (user-)name, study background and '''briefly''' describe your interest in the class (max. 200 words).

==== Certificate of achievement ====

* Presence, regular and active attendance and participation
* Participation in the mid and end presentation
* Submission of the documentation (until the end of semester)

IFD:DV FM SoSe26

2026-04-01T12:28:29Z

Lotta: Created page with "Fachmodul ==Photogrammetry 101== ''Instructor:'' Jesús Velázquez ''Credits:'' 6 ECTS, 4 SWS ''Capacity:'' max. 10 students ''Language:'' English ''Date:'' Mondays (bi-weekly)  15:30-18:45 ''Location:'' Marienstr. 7B - 105 // 002 ''First Meeting:'' '''TBA''' ''BISON Nr.: 326110014'' '''Description''' In this hands-on course students will learn the basics of photogrammetry workflows as a basis for bridging the..."

[[:Category:Fachmodul|Fachmodul]]

==Photogrammetry 101==

''Instructor:'' Jesús Velázquez

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Capacity:'' max. 10 students

''Language:'' English

''[[Zeitraster|Date]]:'' Mondays (bi-weekly)  15:30-18:45

''Location:'' Marienstr. 7B - 105 // 002

''First Meeting:'' '''TBA'''

''BISON Nr.: 326110014''

'''Description'''

In this hands-on course students will learn the basics of photogrammetry workflows as a basis for bridging the transition from the physical world to digital 2D and 3D environments.

Participants will work with photogrammetric equipment (namely digital cameras and laptops) and specific processes and programs to retrieve accurate geometry and position data in order to recreate objects and/or scenarios in a virtual three-dimensional space.

Basic knowledge in digital photography as well as basics in 3D modeling are recommended.

'''Evalutation'''

Active participation, technical documentation at the end of the course.

IFD:BLC FM SoSe26

2026-04-01T12:26:00Z

Lotta:

[[:Category:Fachmodul|Fachmodul]] 
'''Physical Computing: Batteries Not Included''' 
''Instructor:'' [[Brian Larson Clark]] 
''Credits:'' 6 [[ECTS]], 4 [[SWS]] 
''Capacity:'' max. 14 students 
''Language:'' English 
''Location:'' Marienstraße 7b, 002 
''First Meeting:'' 14.04.2026, 13:30 - 16:45

==Description==
This course is a hands-on exploration of how interactive systems can sense and respond to their surroundings, with a particular focus on energy harvesting in electronic and interactive artworks. As computing moves beyond the familiar paradigm of screen, keyboard, and mouse, we will explore how devices can operate within and in relation to the physical world.

Rather than treating energy as an invisible resource, we will approach it as a central design consideration; something that must be captured, transformed, and negotiated. Through this lens, sensors and actuators become not only technical components, but means of mediating relationships between systems and their environments.

Along the way, you will develop fundamental skills in electronics and embedded programming, while engaging with broader questions about how interactive systems are powered, sustained, and situated.

This is a student-driven course. Your ideas and interests will shape its direction.

==Evaluation==
Evaluation will be determined by regular class participation and the completion of a final project.

==Eligible participants==
The modul is open to all other study programmes, please refer to the appropriate programme regulations.

[[Category: Brian Larson Clark]]
[[Category:WS25]]

IFD:BLC FM SoSe26

2026-04-01T12:25:34Z

Lotta: Created page with "Fachmodul '''Physical Computing: Batteries Not Included''' ''Instructor:'' Brian Larson Clark ''Credits:'' 6 ECTS, 4 SWS ''Capacity:'' max. 14 students ''Language:'' English ''Location:'' Marienstraße 7b, 002 ''First Meeting:'' ''14.04.2026, 13:30 - 16:45'' ==Description== This course is a hands-on exploration of how interactive systems can sense and respond to their surroundings, with a particular..."

[[:Category:Fachmodul|Fachmodul]] 
'''Physical Computing: Batteries Not Included''' 
''Instructor:'' [[Brian Larson Clark]] 
''Credits:'' 6 [[ECTS]], 4 [[SWS]] 
''Capacity:'' max. 14 students 
''Language:'' English 
''Location:'' Marienstraße 7b, 002 
''First Meeting:'' ''14.04.2026, 13:30 - 16:45''

==Description==
This course is a hands-on exploration of how interactive systems can sense and respond to their surroundings, with a particular focus on energy harvesting in electronic and interactive artworks. As computing moves beyond the familiar paradigm of screen, keyboard, and mouse, we will explore how devices can operate within and in relation to the physical world.

Rather than treating energy as an invisible resource, we will approach it as a central design consideration; something that must be captured, transformed, and negotiated. Through this lens, sensors and actuators become not only technical components, but means of mediating relationships between systems and their environments.

Along the way, you will develop fundamental skills in electronics and embedded programming, while engaging with broader questions about how interactive systems are powered, sustained, and situated.

This is a student-driven course. Your ideas and interests will shape its direction.

==Evaluation==
Evaluation will be determined by regular class participation and the completion of a final project.

==Eligible participants==
The modul is open to all other study programmes, please refer to the appropriate programme regulations.

[[Category: Brian Larson Clark]]
[[Category:WS25]]

IFD:DV 101 3D SoSe26

2026-04-01T12:22:03Z

Lotta: /* 3D-Print Lab 101 */

[[:Category:Fachmodul|Fachmodul]]

==3D-Print Lab 101==

''Instructor:'' Jesús Velázquez

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Capacity:'' max. 10 students

''Language:'' English

''[[Zeitraster|Date]]:'' See below

''Location:'' Marienstr. 7B - 105 // 002

''BISON Nr.: 326110014''

===== Description =====

A mandatory theoretical and practical introduction for new users of the new Interface Design 3D-Print Lab.

This Blockmodul will give participants an overview of the rules and safety regulations for accessing and working in the 3D-Print Lab, as well as an insight into 3D printing, from modeling with different prototyping tools to preparing objects for printing.

===== Dates =====

Thursday + Friday, 10:00-19:00 on:

* 16-17. April
* 4-5. June 

IFD:DV 101 3D SoSe26

2026-04-01T12:21:03Z

Lotta: Created page with "Fachmodul ==3D-Print Lab 101== ''Instructor:'' Jesús Velázquez ''Credits:'' 6 ECTS, 4 SWS ''Capacity:'' max. 12 students ''Language:'' English ''Date:'' See below ''Location:'' Marienstr. 7B - 105 // 002 ''BISON Nr.: 326110014'' ===== Description ===== A mandatory theoretical and practical introduction for new users of the new Interface Design 3D-Print Lab. This Blockmodul will give participants an overview of..."

[[:Category:Fachmodul|Fachmodul]]

==3D-Print Lab 101==

''Instructor:'' Jesús Velázquez

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Capacity:'' max. 12 students

''Language:'' English

''[[Zeitraster|Date]]:'' See below

''Location:'' Marienstr. 7B - 105 // 002

''BISON Nr.: 326110014''

===== Description =====

A mandatory theoretical and practical introduction for new users of the new Interface Design 3D-Print Lab.

This Blockmodul will give participants an overview of the rules and safety regulations for accessing and working in the 3D-Print Lab, as well as an insight into 3D printing, from modeling with different prototyping tools to preparing objects for printing.

===== Dates =====

Thursday+Friday
16-17. April / 4-5. June 10:00-19:00

Template:IFD SS26

2026-04-01T12:15:44Z

Lotta:

[[File:Curriculum Overview Summer Semester 26.jpg|550x550px]]

TODO: -- Update Image + Curriculum

 
IFD Semester Course Presentation will take place 
on Wednesday, 1 April 2026 from 12:15 - 12:45 on BigBlueButton:
https://www.uni-weimar.de/en/art-and-design/news/important-information-for-students-for-suse-2026/course-selection-and-project-presentations-plenary-sessions/
 
 
Projektmodule / Project Modules:
* [[IFD:PM_SoSe26|Batteries Not Included – Solar Energy as Artistic Material]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_SoSe26|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier, Ting-Chun Liu, Brian L. Clark, Lotta Stöver''
 
Fachmodule:
* [[IFD:DV_101_3D_SoSe26|3D-Print Lab 101]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_SoSe26|Batteries Not Included]]'' (Fachmodul MFA) - Brian Larson Clark''
* [[IFD:DV_FM_SoSe26|Photogrammetry 101]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:SwPCS_SoSe26|Sculpting with Printed Circuit Spaces]]'' (Fachmodul BA/MA) - Lotta Stöver''

 
Kolloquium:
* [[IFD:Kolloq_SoSe26|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

IFD:Kolloq SoSe26

2026-03-09T14:46:13Z

Lotta: Created page with "Kolloquium / Colloquium ''Instructors:'' Prof. Martin Hesselmeier, Brian Larson Clark, Jesús Velázquez, Lotta Stöver ''Credits:'' up to 6 ECTS (depending on the relevant study version), 2 SWS ''Capacity:'' two presenters per session ''Language:'' English/Deutsch ''Date:'' see below ''Location:'' Bauhausstr. 15; '''OR''' Marienstrasse 7b, Room 101 (Please check the [https://mm.ifd.gestaltung.uni-wei..."

[[:Category:Kolloquium|Kolloquium]] / Colloquium

''Instructors:'' Prof. [[Martin Hesselmeier]], [[Brian Larson Clark]], [[Jesús Velázquez]], [[Lotta Stöver]]

''Credits:'' up to 6 [[ECTS]] (depending on the relevant study version), 2 [[SWS]]

''Capacity:'' two presenters per session

''Language:'' English/Deutsch

''[[Zeitraster|Date]]:'' see below

''Location:'' Bauhausstr. 15; '''OR''' Marienstrasse 7b, Room 101 (Please check the [https://mm.ifd.gestaltung.uni-weimar.de/main/channels/ifd-consultations Colloquium Mattermost] channel for updates.)

''First Meeting:'' See schedule below.

== Beschreibung / Description ==
Das Interface-Design Kolloquium lädt unregelmäßig Mittwochs zu einem digitalen Vortrag von Studierenden (Bachelor- und Masterprojekten) ein. Im Anschluss wird über das Thema des Vortrags diskutiert.

''Interface Design students (Bachelor and Master) are invited to digitally present their works on selected Wednesdays. There will be a brief discussion afterwards.''

== Einschreibung / Enrollment ==
Der Besuch ist offen für alle IFD-Kandidaten und erfordert keine Anmeldung in BISON. Bitte kontaktiert vor der Teilnahme am Kolloquium Prof. Martin Hesselmeier mit einem Exposé zur Abschlussarbeit unter martin.hesselmeier@uni-weimar.de.

''Participation is open to all IFD Candidates and does not require registration in BISON. Before participating in the colloquium, please contact Prof Martin Hesselmeier with an exposé of your thesis at martin.hesselmeier@uni-weimar.de.''

== Zielgruppe / Target Group ==
Alle IFD Bachelor- und Master-Studenten, Thesiskandidaten und Mitarbeiter der Professur Interface-Design.

''All IFD bachelor and master students, thesis candidates and staff of the Professorship of Interface Design.''

== Hinweis zur Anwesenheit / Required Presence ==
Um das Kolloquium-Modul erfolgreich abzuschließen, wird ist die Anwesenheit für alle Kolloquiumtermine erforderlich (siehe Daten unten), auch für die angehenden Absolvent*innen, die nicht vortragen, aber sich für das Kolloquium eingeschrieben haben. Bei guten Grund (Krankheit z.B.) bitten wir darum, dass die Studierenden sich im Vorraus entschuldigen, auch wenn sie nicht vortragen.

To complete to colloquium module succesfully, consistent and active presence is required for all appointments (see dates below). This includes presence of prospective graduates who are not presenting that particular date, but have registered for the colloquium. If there is a valid reason (e.g., illness), we ask that students excuse themselves in advance, even if they are not presenting.

== Hinweise für Vortragende / Notes for Presenters ==
Normalerweise gibt es zwei Redner pro Termin. Sie können Ihre Vortragssprache (Deutsch/Englisch) frei wählen. Es sind jedoch üblicherweise 40-60% fremdsprachige Teilnehmer anwesend, die i.d.R. besser Englisch als Deutsch verstehen. Die Präsentation sollte eine Dauer von etwa ~20 Minuten haben. Bitte haben Sie Verständnis dafür, wenn wir nach spätestens 30 Minuten abbrechen, denn wir möchten noch genügend Zeit für Feedback, Fragen und kurze Anschlussdiskussionen haben.

''Typically two presentations will take place per session. The language of your presentation (German/English) is up to you to decide, although a significant portion (40-60%) of participants are non-native German speakers.''

The presentation should have a duration of about ~20 minutes. Please understand that we need to stop the talk after 30 minutes latest, in order to guarantee sufficient time for feedback, questions and short discussions.

== Anmeldung / Signup ==
Colloquiums will be offered on the following days.

Schedule TBA

To gain access to enrollment, please send an email to jesus.velazquez.rodriguez@uni-weimar.de .

IFD:SwPCS SoSe26

2026-03-09T14:39:36Z

Lotta: Created page with "The Printed Circuit Board (PCB) has become the default architecture of the electronic devices that are driving our largely technologically-mediated reality: Electronic components on two-dimensional stacked layers are routing power and signals, energy and material, usually optimized towards signal integrity, power efficiency, profitable use of material, etc. A part of this Fachmodul will be to give an introduction to common PCB design and manufacturing practices, with a..."

The Printed Circuit Board (PCB) has become the default architecture of the electronic devices that are driving our largely technologically-mediated reality: Electronic components on two-dimensional stacked layers are routing power and signals, energy and material, usually optimized towards signal integrity, power efficiency, profitable use of material, etc.

A part of this Fachmodul will be to give an introduction to common PCB design and manufacturing practices, with a large emphasis on interventions in the underlying conventions and assumptions that are implied by the state of the art, industrial "best" practices: What happens if the PCB becomes an open space? What alternatives architectures can we imagine if we come up with our own experimental, irrational, expression-oriented rules? What new dys/functions, alternative energy regimes and materialities, shapes and overall new artistic and design gestures may result from that? In this Fachmodul we will no longer pretend to be electrical engineers, but instead try to discover electronics as a spatial medium in itself.

'''More practially speaking, this class will be scheduled around the following milestones:'''

* a beginner-friendly introduction to electronics for artists and designers
* a tutorial on [https://www.kicad.org/ KiCAD] ( open source PCB design software )
* an introduction to milling our own PCBs in our workshop
* a series of hands-on sessions to develop sculptural / installation works based on our gained knowledge in electronics and circuit design

If you would like to join this class, please write me ( lotta.stoever@uni-weimar.de ) a short e-mail with your (user-)name, study background and '''briefly''' describe your interest in the class (max. 200 words).

==== Certificate of achievement ====

* Presence, regular and active attendance and participation
* Participation in the mid and end presentation
* Submission of the documentation (until end of semester)

Template:IFD SS26

2026-03-09T14:34:47Z

Lotta:

== Sommersemester 2026 ==
[[File:Curriculum Overview Winter Semester 2025 26.jpg|550x550px]]

TODO: -- Update Image + Curriculum

 
IFD Semester Course Presentation will take place 
on _______day, __ April 2026 from __:__ - __:__ on ___(link to BBB)___
 
 
Projektmodule / Project Modules:
* [[IFD:PM_SoSe26|Martin PM]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_SoSe26|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier, Ting-Chun Liu, Brian L. Clark, Lotta Stöver''
 
Fachmodule:
* [[IFD:SwPCS_SoSe26|Sculpting with Printed Circuit Spaces]]'' (Fachmodul BA/MA) - Lotta Stöver''
* [[IFD:DV_FM_SoSe26|Darko Fachmodul]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_SoSe26|Brian Fachmodul]]'' (Fachmodul MFA) - Brian Larson Clark''

 
Kolloquium:
* [[IFD:Kolloq_SoSe26|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

Template:IFD SS26

2026-03-09T14:34:07Z

Lotta: Created page with "== Sommersemester 2026 == 550x550px TODO: -- Update Image + Curriculum IFD Semester Course Presentation will take place on _______day, __ April 2026 from __:__ - __:__ on ___(link to BBB)___ Projektmodule / Project Modules: * Martin PM'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier'' * Open Project Module'' (Projektmodul BFA, MFA) - Prof. Martin Hes..."

== Sommersemester 2026 ==
[[File:Curriculum Overview Winter Semester 2025 26.jpg|550x550px]]

TODO: -- Update Image + Curriculum

 
IFD Semester Course Presentation will take place 
on _______day, __ April 2026 from __:__ - __:__ on ___(link to BBB)___
 
 
Projektmodule / Project Modules:
* [[IFD:PM_SoSe26|Martin PM]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_SoSe26|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier, Ting-Chun Liu, Brian L. Clark, Lotta Stöver''
 
Fachmodule:
* [[IFD:SwPCS_SoSe26|Sculpting with Printed Circuit Spaces]]'' (Fachmodul BA/MA) - Lotta Stöver''
* [[IFD:DV_FM_SoSe26|Darko Fachmodul]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_SoSe26|Brian Fachmodul]]'' (Fachmodul MFA) - Brian Larson Clark''

 
Kolloquium:
* [[IFD:Kolloq_SoSe26|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

IFD:FPM SoSe26

2026-03-09T14:25:12Z

Lotta:

= Open Project Module =

[[:Category:Projektmodul|Projektmodul]] '' / Project Module'' 
''Instructor:'' Prof. [[Martin Hesselmeier]], Brian L. Clark, Ting-Chun Liu, Lotta Stöver 
''Credits:'' 18 [[ECTS]], 16 [[SWS]] 
''Capacity:'' max. 10 students 
''Language:'' english, deutsch 
''[[Zeitraster|Date]]:'' See below; Consultations by appointment 
''Location:'' TBA 
''First Meeting:'' MON 2026-04-20 - 15:30 (More information regarding the first meeting will be sent to accepted participants by email.) 
''BISON NR: TBA'' 

====== Description ======
With this project module students can initiate their own self-directed project, while still being provided conceptual and technical support. Students are encouraged to propose a practice-based artistic/design research project that is in line with their own interests and growing body of work. We support proposals that aim to arguably develop the students’ portfolio, skills and overall work in the field of:

Interactive Art / Light Art / Energy Harvesting / Physical, Tangible Computing / Spatial Interaction / Architectural Interfaces / 2D/3D Prototyping & Printed Electronics / Mobile, Location-based Applications / Artistic Research / Embodied Data

====== Workload ======
The granted credits for a project module are 18 ECTS and 16 SWS, which roughly translates to a work/study load of ca. 500 hours. This open project module is only suitable for students who are able to properly and consistently self-organize their time, energy and efforts. While we are going to be available for individual consultations and - if agreed - irregularly check in with you, you will have the freedom and responsibility to structure your own time, etc.

====== Application ======
If you would like to initiate a project in the framing of this Open Project Module, please send us an e-mail to [mailto:lotta.stoever@uni-weimar.de lotta.stoever@uni-weimar.de], including:
* '''a brief project proposal''' that explains your project idea, why you are interested to work on this and how it helps you to develop your portfolio and artistic/design practice further
* '''a schedule''' that gives a realistic overview of how you are structuring the development of your project
Please include the following dates for your schedule:

* MON 2026-04-20 - 15:30 -- Brief Kick-off meeting
* WED 2026-05-27 - 13:30 -- Intermediary Presentation
* WED 2026-07-08 - 09:30 -- Final presentation during Summaery

For additional consultations, you can join our more or less regular open slots for individual talks.

==== Certificate of achievement ====

* Effort and quality of the project proposal
* Significant development of your individual project
* Participation in the kick-off meeting, as well as in the intermediary, end presentation which may involve an exhibition at the Summaery
* Submission of the documentation (until end of semester)

IFD:FPM SoSe26

2026-03-09T14:24:15Z

Lotta: /* Certificate of achievement */

= Open Project Module =

[[:Category:Projektmodul|Projektmodul]] '' / Project Module'' 
''Instructor:'' Prof. [[Martin Hesselmeier]], Brian L. Clark, Ting-Chun Liu, Lotta Stöver 
''Credits:'' 18 [[ECTS]], 16 [[SWS]] 
''Capacity:'' max. 10 students 
''Language:'' english, deutsch 
''[[Zeitraster|Date]]:'' See below; Consultations by appointment 
''Location:'' TBA 
''First Meeting:'' TBA (More information regarding the first meeting will be sent to accepted participants by email.) 
''BISON NR: TBA'' 

====== Description ======
With this project module students can initiate their own self-directed project, while still being provided conceptual and technical support. Students are encouraged to propose a practice-based artistic/design research project that is in line with their own interests and growing body of work. We support proposals that aim to arguably develop the students’ portfolio, skills and overall work in the field of:

Interactive Art / Light Art / Energy Harvesting / Physical, Tangible Computing / Spatial Interaction / Architectural Interfaces / 2D/3D Prototyping & Printed Electronics / Mobile, Location-based Applications / Artistic Research / Embodied Data

====== Workload ======
The granted credits for a project module are 18 ECTS and 16 SWS, which roughly translates to a work/study load of ca. 500 hours. This open project module is only suitable for students who are able to properly and consistently self-organize their time, energy and efforts. While we are going to be available for individual consultations and - if agreed - irregularly check in with you, you will have the freedom and responsibility to structure your own time, etc.

====== Application ======
If you would like to initiate a project in the framing of this Open Project Module, please send us an e-mail to [mailto:lotta.stoever@uni-weimar.de lotta.stoever@uni-weimar.de], including:
* '''a brief project proposal''' that explains your project idea, why you are interested to work on this and how it helps you to develop your portfolio and artistic/design practice further
* '''a schedule''' that gives a realistic overview of how you are structuring the development of your project
Please include the following dates for your schedule:

* MON 2026-04-20 - 15:30 -- Brief Kick-off meeting
* WED 2026-05-27 - 13:30 -- Intermediary Presentation
* WED 2026-07-08 - 09:30 -- Final presentation during Summaery

For additional consultations, you can join our more or less regular open slots for individual talks.

==== Certificate of achievement ====

* Effort and quality of the project proposal
* Significant development of your individual project
* Participation in the kick-off meeting, as well as in the intermediary, end presentation which may involve an exhibition at the Summaery
* Submission of the documentation (until end of semester)

IFD:FPM SoSe26

2026-03-09T14:18:29Z

Lotta: Created page with "= Open Project Module = Projektmodul '' / Project Module'' ''Instructor:'' Prof. Martin Hesselmeier, Brian L. Clark, Ting-Chun Liu, Lotta Stöver ''Credits:'' 18 ECTS, 16 SWS ''Capacity:'' max. 10 students ''Language:'' english, deutsch ''Date:'' See below; Consultations by appointment ''Location:'' TBA ''First Meeting:'' TBA (More information regarding the first meeting..."

= Open Project Module =

[[:Category:Projektmodul|Projektmodul]] '' / Project Module'' 
''Instructor:'' Prof. [[Martin Hesselmeier]], Brian L. Clark, Ting-Chun Liu, Lotta Stöver 
''Credits:'' 18 [[ECTS]], 16 [[SWS]] 
''Capacity:'' max. 10 students 
''Language:'' english, deutsch 
''[[Zeitraster|Date]]:'' See below; Consultations by appointment 
''Location:'' TBA 
''First Meeting:'' TBA (More information regarding the first meeting will be sent to accepted participants by email.) 
''BISON NR: TBA'' 

====== Description ======
With this project module students can initiate their own self-directed project, while still being provided conceptual and technical support. Students are encouraged to propose a practice-based artistic/design research project that is in line with their own interests and growing body of work. We support proposals that aim to arguably develop the students’ portfolio, skills and overall work in the field of:

Interactive Art / Light Art / Energy Harvesting / Physical, Tangible Computing / Spatial Interaction / Architectural Interfaces / 2D/3D Prototyping & Printed Electronics / Mobile, Location-based Applications / Artistic Research / Embodied Data

====== Workload ======
The granted credits for a project module are 18 ECTS and 16 SWS, which roughly translates to a work/study load of ca. 500 hours. This open project module is only suitable for students who are able to properly and consistently self-organize their time, energy and efforts. While we are going to be available for individual consultations and - if agreed - irregularly check in with you, you will have the freedom and responsibility to structure your own time, etc.

====== Application ======
If you would like to initiate a project in the framing of this Open Project Module, please send us an e-mail to [mailto:lotta.stoever@uni-weimar.de lotta.stoever@uni-weimar.de], including:
* '''a brief project proposal''' that explains your project idea, why you are interested to work on this and how it helps you to develop your portfolio and artistic/design practice further
* '''a schedule''' that gives a realistic overview of how you are structuring the development of your project
Please include the following dates for your schedule:

* Kick-off meeting: [DATE TODO]
* Intermediary presentation: [DATE TODO]
* Final presentation: [DATE TODO]

For additional consultations, you can join our more or less regular open slots for individual talks.

==== Certificate of achievement ====

* Effort and quality of the project proposal
* Significant development of your individual project
* Participation in the kick-off meeting, as well as in the intermediary, end presentation which may involve an exhibition at the Winterwerkschau
* Submission of the documentation (until end of semester)

Guiding principles for project documentations in Interface Design modules

2026-02-08T14:10:25Z

Lotta:

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. The quality and character of the documentation will in many cases decide, how (and if!) you work is being perceived. In many cases, good photos/videos can make or break how successful future applications will be. Also, developing your own documentation skills can make you more self-sufficient as a creative, which may save you some money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards/against the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras and audio recorders can be borrowed from the university. Please check out the Media-Point of the university for borrowing equipment, as well as computers for editing: https://www.uni-weimar.de/de/kunst-und-gestaltung/struktur/werkstaetten-ausstattung/zentrale-werkstaetten/mediapoint-im-medienhaus/

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

==== Credits ====
Include the name that you want to be accredited as (might be your real name, your artist name, ...), as well as: the title of your work, the year/semester of development, your lecturers, the university department (Interface Design chair & Media Art + Design study program), as well as the Bauhaus-University Weimar in the credits of the documentation. The university logo can be downloaded [https://www.uni-weimar.de/de/universitaet/struktur/zentrale-einrichtungen/universitaetskommunikation/visuelle-kommunikation/logo/ here], and the Interface Design logo can be downloaded [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/images/Interface_Design_Logos.zip here].

This document is part of the list of [[Conceptual Support Resources for Students]].

Guiding principles for project documentations in Interface Design modules

2026-02-08T14:08:51Z

Lotta:

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. The quality and character of the documentation will in many cases decide, how (and if!) you work is being perceived. In many cases, good photos/videos can make or break how successful future applications will be. Also, developing your own documentation skills can make you more self-sufficient as a creative, which may save you some money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras and audio recorders can be borrowed from the university. Please check out the Media-Point of the university for borrowing equipment, as well as computers for editing: https://www.uni-weimar.de/de/kunst-und-gestaltung/struktur/werkstaetten-ausstattung/zentrale-werkstaetten/mediapoint-im-medienhaus/

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

==== Credits ====
Include the name that you want to be accredited as (might be your real name, your artist name, ...), as well as: the title of your work, the year/semester of development, your lecturers, the university department (Interface Design chair & Media Art + Design study program), as well as the Bauhaus-University Weimar in the credits of the documentation. The university logo can be downloaded [https://www.uni-weimar.de/de/universitaet/struktur/zentrale-einrichtungen/universitaetskommunikation/visuelle-kommunikation/logo/ here], and the Interface Design logo can be downloaded [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/images/Interface_Design_Logos.zip here].

This document is part of the list of [[Conceptual Support Resources for Students]].

Guiding principles for project documentations in Interface Design modules

2026-01-29T14:49:52Z

Lotta: /* Credits */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras and audio recorders can be borrowed from the university. Please check out the Media-Point of the university for borrowing equipment, as well as computers for editing: https://www.uni-weimar.de/de/kunst-und-gestaltung/struktur/werkstaetten-ausstattung/zentrale-werkstaetten/mediapoint-im-medienhaus/

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

==== Credits ====
Include the name that you want to be accredited as (might be your real name, your artist name, ...), as well as: the title of your work, the year/semester of development, your lecturers, the university department (Interface Design chair & Media Art + Design study program), as well as the Bauhaus-University Weimar in the credits of the documentation. The university logo can be downloaded [https://www.uni-weimar.de/de/universitaet/struktur/zentrale-einrichtungen/universitaetskommunikation/visuelle-kommunikation/logo/ here], and the Interface Design logo can be downloaded [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/images/Interface_Design_Logos.zip here].

This document is part of the list of [[Conceptual Support Resources for Students]].

Guiding principles for project documentations in Interface Design modules

2026-01-29T14:47:18Z

Lotta: /* High quality photos */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras and audio recorders can be borrowed from the university. Please check out the Media-Point of the university for borrowing equipment, as well as computers for editing: https://www.uni-weimar.de/de/kunst-und-gestaltung/struktur/werkstaetten-ausstattung/zentrale-werkstaetten/mediapoint-im-medienhaus/

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

==== Credits ====
Include the name that you want to be accredited as (might be your real name, your artist name, ...), as well as: the title of your work, the year/semester of development, your lecturers, the university department (Interface Design chair & Media Art + Design study program), as well as the Bauhaus-University Weimar in the credits of the documentation. The university logo can be downloaded [https://www.uni-weimar.de/de/universitaet/struktur/zentrale-einrichtungen/universitaetskommunikation/visuelle-kommunikation/logo/ here], and the Interface Design logo can be downloaded [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/images/Interface_Design_Logos.zip here].

This document is part of the list of [[Conceptual Support Resources for Students]].

Guiding principles for project documentations in Interface Design modules

2026-01-29T13:50:24Z

Lotta: /* High quality photos */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras and audio recorders can be borrowed from the university. Please check out the Media-Point of the university for borrowing equipment, as well as computers for editing: https://www.uni-weimar.de/de/kunst-und-gestaltung/struktur/werkstaetten-ausstattung/zentrale-werkstaetten/mediapoint-im-medienhaus/

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

==== Credits ====
Include the name that you want to be accredited as (might be your real name, your artist name, ...), as well as: the title of your work, the year/semester of development, your lecturers, the university department (Interface Design chair & Media Art + Design study program), as well as the Bauhaus-University Weimar in the credits of the documentation. The university logo can be downloaded [https://www.uni-weimar.de/de/universitaet/struktur/zentrale-einrichtungen/universitaetskommunikation/visuelle-kommunikation/logo/ here], and the Interface Design logo can be downloaded [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/images/Interface_Design_Logos.zip here].

This document is part of the list of [[Conceptual Support Resources for Students]].

Guiding principles for project documentations in Interface Design modules

2026-01-29T13:48:06Z

Lotta: /* Credits */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras and audio recorders can be borrowed from the university.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

==== Credits ====
Include the name that you want to be accredited as (might be your real name, your artist name, ...), as well as: the title of your work, the year/semester of development, your lecturers, the university department (Interface Design chair & Media Art + Design study program), as well as the Bauhaus-University Weimar in the credits of the documentation. The university logo can be downloaded [https://www.uni-weimar.de/de/universitaet/struktur/zentrale-einrichtungen/universitaetskommunikation/visuelle-kommunikation/logo/ here], and the Interface Design logo can be downloaded [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/images/Interface_Design_Logos.zip here].

This document is part of the list of [[Conceptual Support Resources for Students]].

File:Interface Design Logos.zip

2026-01-29T13:46:22Z

Lotta:

Logos of Interface Design chair

Guiding principles for project documentations in Interface Design modules

2026-01-29T13:44:15Z

Lotta:

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras and audio recorders can be borrowed from the university.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

==== Credits ====
Include the name that you want to be accredited as (might be your real name, your artist name, ...), as well as: the title of your work, the year/semester of development, your lecturers, the university department (Interface Design chair & Media Art + Design study program), as well as the Bauhaus-University Weimar in the credits of the documentation. The university logo can be downloaded here: https://www.uni-weimar.de/de/universitaet/struktur/zentrale-einrichtungen/universitaetskommunikation/visuelle-kommunikation/logo/

This document is part of the list of [[Conceptual Support Resources for Students]].

Guiding principles for project documentations in Interface Design modules

2026-01-28T18:42:11Z

Lotta:

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras can be borrowed from the university. Interface Design students may also borrow professional cameras from us.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

This document is part of the list of [[Conceptual Support Resources for Students]].

Guiding principles for project documentations in Interface Design modules

2026-01-28T18:19:50Z

Lotta: /* High quality video */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras can be borrowed from the university. Interface Design students may also borrow professional cameras from us.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if your work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

Guiding principles for project documentations in Interface Design modules

2026-01-28T18:19:35Z

Lotta: /* High quality video */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras can be borrowed from the university. Interface Design students may also borrow professional cameras from us.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits. And if you're work is completely silence - then most likely your video should also show that.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

Guiding principles for project documentations in Interface Design modules

2026-01-28T17:46:37Z

Lotta: /* High quality photos */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras can be borrowed from the university. Interface Design students may also borrow professional cameras from us.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. Indoors, this is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

Guiding principles for project documentations in Interface Design modules

2026-01-28T17:42:12Z

Lotta: /* High quality video */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras can be borrowed from the university. Interface Design students may also borrow professional cameras from us.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. This is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits.

^^^ That being said, there are occasions where complementary sound can be a good decision: A voice over, sound recordings that are conceptually relevant for your work, etc.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

Guiding principles for project documentations in Interface Design modules

2026-01-28T17:39:47Z

Lotta: /* High quality video */

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras can be borrowed from the university. Interface Design students may also borrow professional cameras from us.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. This is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while keeping a steady pace. Not too fast to be rushy, but also maybe not too awkwardly slow (unless that's intentionally what you're going for).

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

Guiding principles for project documentations in Interface Design modules

2026-01-28T17:37:41Z

Lotta: Created page with "There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future. So, you have finished and exhibited/performed/prese..."

There are myriad ways of producing a good and professional documentation of the projects that you develop during your studies. High quality documentations of your work can strongly elevate your works reception. In many cases, good photos/videos can make or break how successful future applications will be. Developing good skills in photography/videography for documentation can save yourself a lot of money in the future.

So, you have finished and exhibited/performed/presented your work and now you want to document the (intermediary) result of your artistic or design process. Strategically, there are arguable (at least) two main approaches:

# You're aiming for a documentation that gives a neutral insight into how your work ''naturally'' appears in space.
# You're aiming for a documentation that aims to expand what one can experience with their own body in the exhibition space.

While there is a tendency for attempted objectivity in the documentation from the more artistic direction, and a tendency to - to some degree - market/promote/advertise for your project in a more design direction, both are valid and intensely used strategies in different fields across art, design, architecture.

This is of course just a first plateau of reflecting on what you aim for with your works -- ultimately tying together a positioning towards the established aesthetics of the field that you steer your career towards, the "natural" appearance of how your work behaves in different kinds of spaces (white cube, dark room, offspace, etc.), as well as your own idiosyncratic visual/sonic/textual vocabulary.

It's strongly encouraged to make use as much as possible of the university's facilities: For smaller objects (devices, publications, PCBs, etc.) make use of the small photo station and the professional photo lights. For larger spatial installations consider either the photo studio, or temporarily setting up your work (for example for a dark room in the cellar of Marienstr. 5, or for a clean white background in Marienstr. 7b, room 002 - both may be more easily availble during the lecture-free period). Cameras can be borrowed from the university. Interface Design students may also borrow professional cameras from us.

Either way, a documentation becomes high quality through an excellent setup and in turn: good and professional photos and videos, and lastly, a well-written description. To each of these components we would like to offer some tipps:

==== High quality photos ====
Use lighting with consistent color temperature. This is achieved most reliably by shutting down curtains and working with a controllable light source (aka professional photo lights). If you are using your own LED-based light source, make sure to use LEDs with a high CRI value.

Photos should be geometrically corrected. That means in spatial depictions vertical walls should be 100% parallel to the left/right edge of the image. Same goes for square motifs like a printed publications, PCB, etc.

The white balance should be appropriately set: Monochrome (i.e. grey) areas in the image should be *truly* monochrome RGB values, like rgb(125,125,125).

The brightest point should not be 100% white, but rather max. 95% white rgb(240, 240, 240). Apart from a more softer appearance, this will make sure that your images will not blend in too much with the background on white backgrounds (in websites for example).

==== High quality video ====
Most of the tipps from the photos section are also applicable. Additionally, we do recommend:

Use a tripod! Unless you're filming a running or a horror scene, don't include shaky footage.

Your video should cover all relevant angles and perspectives that one would be able to inspect while viewing your work, while also not overexposing

Give the changes from different perspectives in your video an understandable rhythm. If you're not sure what may be a good "choreography" through the close ups, detail views, wide angles and full installation views, then: Watch a large amount of other documentation videos to find out what red thread through a documentation video you like.

If you're documenting a media artistic work, most likely you don't want to add background music to your documentation that you wouldn't also hear when your work is exhibited. Adding an ambient or background "soundtrack" to your video with the intention to make your work more exciting, is most likely going to have the opposite effect. Instead, try to work with the sounds that your work is producing by itself: The noises of the motor, the sound of the air when your work is moving, the clicking of a relay, the slight humming of your PWM-controlled MOSFET, etc -- whatever sounds your work emits.

Unless you're recording your video in a populated exhibition, try to somewhat remove background noise for your recordings to a reasonable degree.

If your work involves a complex assemblage of technical processes that does not explain itself from the footage alone, one strategy to make your work more understandable could be to add text overlays and diagrams to your video.

==== Well-written project description ====
Depending on how you are approaching your documentation, a well-written description can:

* explain what you did
* be a genuine expression of your interests in a specific material, phenomenon, event, idea, etc.
* enhance the readers perception of your work
* mention the technicalities of your project
* give additional references
* contextualize your work (and therefor your evolving practice!) in a wider discourse/field
* be a smooth/fun/exciting reading experience :)

Conceptual Support Resources for Students

2026-01-28T17:36:09Z

Lotta:

This is an incomplete and growing list of documents in which we ([[IFD:Start|Interface Design]] staff) try to offer guidance, assistance support in study-related questions.

* [[Guiding principles for project documentations in Interface Design modules]]
* [[How to understand + appropriate (media) theoretical texts for your art/design processes]]
* [[How to prepare an intermediary presentation about the work in progress on your art/design project]]
* [[Tipps for exhibiting at festivals as a student]]
* TODO: How to start exhibiting outside of university
* TODO: Strategies for making art/design projects when you're short on money
* TODO: How to develop an art/design-based research project
* ... more to come soon!

IFD:DW WiSe25

2025-11-07T09:27:33Z

Lotta: /* Joining + Schedule */

[[:Category:Fachmodul|Fachmodul]]

'''SuperPro© Artists #1 - Documentation Workshop'''

''Instructor:'' Jesús Velázquez & Lotta Stöver

''Credits:'' 3 [[ECTS]], 2 [[SWS]]

''Capacity:'' 15 students

''Language:'' English

''[[Zeitraster|Date]]:'' (see dates below)

''Location:'' Marienstr. 7b, R002

''First Meeting:'' '''<s>FRI 2025-11-02 - 10:00</s> had to be changed to: THU 2025-11-13 - 10:00'''

''BISON Nr.: TBA''

URL: TBA
== SuperPro© Artists #1 - Documentation Workshop ==

Professionalism is a weird thing in the art and design world. While people expect artists' works to be perfectly documented, being perceived *too professional* may seem cold - or even worse: too commercial ;) Navigating un/professionalism can be tricky. That's why we're offering this workshop: So instead, you can become '''SuperPro©''' (or just learn and practice some useful documentation techniques with us...)

Let's talk about why high quality photos and videos of your work are important, and what are some good strategies to building a neat, but personal portfolio. We want to discuss and practice with you how to do quick process documentations, how to set up your works for more detailed and polished documentation (either in situ or in a studio), and how to edit and post-process your photographs so that they look great in a catalogue, printed out portfolio, your social media feed, your online portfolio, etc...

==== Joining + Schedule ====

If you'd like to join us and want to maybe become SuperPro©, in addition to registering in the BISON, please write us - Jesús Velázquez ([mailto:Jesus.velazquez@uni-weimar.de jesus.velazquez@uni-weimar.de]) and Lotta Stöver ([mailto:lotta.stoever@uni-weimar.de lotta.stoever@uni-weimar.de]) - an e-mail containing the following infos:
* Your chosen name
* Study background
* If you have: a link to your current online portfolio

'''❗️ Also, please make sure you reserve the following days, each day from 10:00 to 16:00:'''
* <s>FRI 2025-11-07</s>
* THU 2025-11-13 (new first session date)
* THU 2025-11-20
* FRI 2025-11-21
* THU 2026-01-22
* FRI 2026-01-23

==== Certificate of achievement ====

The final submission for this Fach/Werkmodul will be a SuperHighQuality© documentation of the project(s) that you exhibit during the Winterwerkschau 2026 (or comparable).

IFD:Start

2025-10-07T10:43:44Z

Lotta:

<blockquote>
We design, develop and implement interfaces and applications that enable and facilitate access to the digital world in interactive, networked and physical environments. 
</blockquote>'''Welcome to the Interface Design MediaWiki!''' '''''Willkommen im MediaWiki der Professur Interface Design!'''''

=== Overview ===
* [[Conceptual Support Resources for Students]]
* [[Infos about IFD Labs and Workshops]]
* [[Knowledge Database|IFD Knowledge Database]]
* [http://www.uni-weimar.de/de/kunst-und-gestaltung/professuren/interface-design/ Professorship Website]
* [http://www.uni-weimar.de/de/kunst-und-gestaltung/professuren/interface-design/people/ Professorship Staff and Contact Information]

 
 '''Offered ''Projektmodule'' and ''Fachmodule'':'''

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== Featured Content ==
* [[IFD:Digital_Bauhaus_Vorkurs|Digital Bauhaus]]

* [[Crash Course Programming for Arduino|Quickstart Programming for Arduino]]
* [[IFD:Grundlagen der Webprogrammierung|Basics of Web Programming]]
* [[Interfaces|Interfaces Mensch-Maschine]] (Linkliste)
* [[Mobile Interaction]]
* [[Multitouch]]
* [[Tracking Motion Detection|Übersicht Motion-Capturing/-Detection/-Tracking]]
* [[:Category:Theorie|Übersicht Kategorie "Theorie"]]

{{Template:Startseite}}

[[Category:Interface-Design]]

Template:IFD WS25

2025-10-07T10:43:02Z

Lotta: /* Wintersemester 2025/2026 */

== Wintersemester 2025/2026 ==
[[File:Curriculum Overview Winter Semester 2025 26.jpg|550x550px]]

 
IFD Semester Course Presentation will take place 
on Wednesday, 08 October 2025 from 9:00 - 13:45 on [https://www.uni-weimar.de/de/kunst-und-gestaltung/aktuell/infos-fuer-studierende-zum-wise-202526/infos-zur-kurswahl-und-projektpraesentationen/ Big Blue Button]
 
 
Projektmodule / Project Modules:
* [[IFD:PM_WiSe25|Open Photonics Makerspace]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_WiSe25|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier & Lotta Stöver''
 
Fachmodule:
* [[IFD:DV_FM_WiSe25|Tools, materials and approaches for FDM Rapid Prototyping REDUX]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_WiSe25|Physical Computing: Glow with the Flow]]'' (Fachmodul MFA) - Brian Larson Clark''
* [[IFD:RGAD_WiSe25|Re/Generative Art + Design]]'' (Fachmodul BA/MA) - Lotta Stöver''
* [[IFD:DV_FM2_WiSe25|ML-based, Generative and Volumetric Imaging]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:CC_GLITCH_WiSe25|Gʟɨȶçɦɨռɢ ȶɦɛ ƈǟռʋåš: Chaotic Coding Workshop for Beginners]]'' (Fachmodul BA/MA) - Ting-Chun Liu & Lotta Stöver''
* [[IFD:DW_WiSe25|SuperPro© Artists #1 - Documentation Workshop]] (Fachmodul BA/MA) - Jesús Velázquez & Lotta Stöver''

 
Kolloquium:
* [[IFD:Kolloq_WiSe25|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

Template:IFD WS25

2025-10-07T10:40:49Z

Lotta: /* Wintersemester 2025/2026 */

== Wintersemester 2025/2026 ==
[[File:Curriculum Overview Winter Semester 2025 26.jpg|550x550px]]

 
IFD Semester Course Presentation will take place on Wednesday, 08 October 2025 from 9:00 - 13:45 on 
>[https://www.uni-weimar.de/de/kunst-und-gestaltung/aktuell/infos-fuer-studierende-zum-wise-202526/infos-zur-kurswahl-und-projektpraesentationen/ https://www.uni-weimar.de/de/kunst-und-gestaltung/aktuell/infos-fuer-studierende-zum-wise-202526/infos-zur-kurswahl-und-projektpraesentationen/] 
 
Projektmodule / Project Modules:
* [[IFD:PM_WiSe25|Open Photonics Makerspace]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_WiSe25|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier & Lotta Stöver''
 
Fachmodule:
* [[IFD:DV_FM_WiSe25|Tools, materials and approaches for FDM Rapid Prototyping REDUX]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_WiSe25|Physical Computing: Glow with the Flow]]'' (Fachmodul MFA) - Brian Larson Clark''
* [[IFD:RGAD_WiSe25|Re/Generative Art + Design]]'' (Fachmodul BA/MA) - Lotta Stöver''
* [[IFD:DV_FM2_WiSe25|ML-based, Generative and Volumetric Imaging]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:CC_GLITCH_WiSe25|Gʟɨȶçɦɨռɢ ȶɦɛ ƈǟռʋåš: Chaotic Coding Workshop for Beginners]]'' (Fachmodul BA/MA) - Ting-Chun Liu & Lotta Stöver''
* [[IFD:DW_WiSe25|SuperPro© Artists #1 - Documentation Workshop]] (Fachmodul BA/MA) - Jesús Velázquez & Lotta Stöver''

 
Kolloquium:
* [[IFD:Kolloq_WiSe25|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

Template:IFD WS25

2025-10-07T10:39:19Z

Lotta: /* Wintersemester 2025/2026 */

== Wintersemester 2025/2026 ==
[[File:Curriculum Overview Winter Semester 2025 26.jpg|550x550px]]

 
IFD Semester Course Presentation will take place on Wednesday, 08 October 2025 from 9:00 - 13:45 on
>[https://www.uni-weimar.de/de/kunst-und-gestaltung/aktuell/infos-fuer-studierende-zum-wise-202526/infos-zur-kurswahl-und-projektpraesentationen/ https://www.uni-weimar.de/de/kunst-und-gestaltung/aktuell/infos-fuer-studierende-zum-wise-202526/infos-zur-kurswahl-und-projektpraesentationen/] 
 
Projektmodule / Project Modules:
* [[IFD:PM_WiSe25|Open Photonics Makerspace]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_WiSe25|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier & Lotta Stöver''
 
Fachmodule:
* [[IFD:DV_FM_WiSe25|Tools, materials and approaches for FDM Rapid Prototyping REDUX]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_WiSe25|Physical Computing: Glow with the Flow]]'' (Fachmodul MFA) - Brian Larson Clark''
* [[IFD:RGAD_WiSe25|Re/Generative Art + Design]]'' (Fachmodul BA/MA) - Lotta Stöver''
* [[IFD:DV_FM2_WiSe25|ML-based, Generative and Volumetric Imaging]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:CC_GLITCH_WiSe25|Gʟɨȶçɦɨռɢ ȶɦɛ ƈǟռʋåš: Chaotic Coding Workshop for Beginners]]'' (Fachmodul BA/MA) - Ting-Chun Liu & Lotta Stöver''
* [[IFD:DW_WiSe25|SuperPro© Artists #1 - Documentation Workshop]] (Fachmodul BA/MA) - Jesús Velázquez & Lotta Stöver''

 
Kolloquium:
* [[IFD:Kolloq_WiSe25|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>

Template:IFD WS25

2025-10-07T10:35:19Z

Lotta:

== Wintersemester 2025/2026 ==
[[File:Curriculum Overview Winter Semester 2025 26.jpg|550x550px]]

 
IFD Semester Course Presentation will take place on ____day, __ October 2025 at _pm-_pm on >LINK TO BBB 
 
Projektmodule / Project Modules:
* [[IFD:PM_WiSe25|Open Photonics Makerspace]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier''
* [[IFD:FPM_WiSe25|Open Project Module]]'' (Projektmodul BFA, MFA) - Prof. Martin Hesselmeier & Lotta Stöver''
 
Fachmodule:
* [[IFD:DV_FM_WiSe25|Tools, materials and approaches for FDM Rapid Prototyping REDUX]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:BLC_FM_WiSe25|Physical Computing: Glow with the Flow]]'' (Fachmodul MFA) - Brian Larson Clark''
* [[IFD:RGAD_WiSe25|Re/Generative Art + Design]]'' (Fachmodul BA/MA) - Lotta Stöver''
* [[IFD:DV_FM2_WiSe25|ML-based, Generative and Volumetric Imaging]]'' (Fachmodul BFA/MFA) - Jesús Velázquez''
* [[IFD:CC_GLITCH_WiSe25|Gʟɨȶçɦɨռɢ ȶɦɛ ƈǟռʋåš: Chaotic Coding Workshop for Beginners]]'' (Fachmodul BA/MA) - Ting-Chun Liu & Lotta Stöver''
* [[IFD:DW_WiSe25|SuperPro© Artists #1 - Documentation Workshop]] (Fachmodul BA/MA) - Jesús Velázquez & Lotta Stöver''

 
Kolloquium:
* [[IFD:Kolloq_WiSe25|Kolloquium]] ''- Prof. Martin Hesselmeier, Brian Clark, Lotta Stöver, Jesús Velázquez''
 
<noinclude>[[Category:Template]]</noinclude>