https://www.uni-weimar.de/kunst-und-gestaltung/wiki/api.php?action=feedcontributions&feedformat=atom&user=MelisaaslanMedien Wiki - User contributions [en]2026-10-22T22:05:54ZUser contributionsMediaWiki 1.39.6https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142849GMU:Patterns/Melisa Aslan2026-09-29T14:45:13Z<p>Melisaaslan: </p>
<hr />
<div>=== 21.04.2026 - Previous Works and The Initial Idea ===<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
<br />
<br />
=== Augury Grid ===<br />
For thousands of years, humans looked up before they looked down. Birds were not simply part of the landscape. they were a way of reading it. Across cultures, their movements shaped decisions about where cities should be founded and how people should inhabit the land.<br />
<br />
Rome was founded through Augury, where vultures determined the city's site. The Aztecs built Tenochtitlan where an eagle landed on a cactus with a serpent in its beak. Along the Nile, the sacred ibis traced the rhythms of flood, agriculture and settlement. Birds did not predict the future; they revealed patterns within the world. Today, these practices have been replaced by the logic of zoning, efficiency and commercial value in architecture and urban design. Cities are planned to optimise movement, leaving little room for uncertainty, observation or wandering.<br />
<br />
The Sciences of the Imprecise (by Abraham Moles) reminds us that not all knowledge comes from precision or measurement. Some patterns can only be understood through careful observation. Birds still read the city differently; they follow thermals, waterways, vegetation and seasonal rhythms rather than streets and property lines.<br />
<br />
The Situationists proposed the dérive as a way of resisting the functional city. AUGURY GRID asks a similar question: what if we drift according to another species? Using live citizen-science bird sightings, the installation generates walking routes drawn by birds rather than planners. It does not revive augury as a method of prophecy, but as a method of perception-inviting participants to discover another way of reading the city.<br />
[[File:ConceptDiagram.jpg|thumb|1058x1058px]]<br />
<br />
=== Exhibition Documentation ===<br />
[[File:Augury Grid.jpg|left|thumb]]<br />
[[File:The Interface.jpg|thumb|666x666px]]<br />
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=== References ===<br />
<small>Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki></small><br />
<br />
<small>Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki></small><br />
<br />
<small>Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5</small><br />
<br />
<small>''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki></small><br />
<br />
<small>Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki></small><br />
<br />
<small>GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki></small><br />
<br />
<small>Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki></small><br />
<br />
<small>Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki></small><br />
<br />
<small>''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki></small> <br />
<br />
<small>Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki></small><br />
<br />
<small>Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki></small><br />
<br />
<small>Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki></small><br />
<br />
<small>Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki></small><br />
<br />
<small>Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki></small><br />
<br />
<small>Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki></small></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142848GMU:Patterns/Melisa Aslan2026-09-29T14:44:17Z<p>Melisaaslan: </p>
<hr />
<div>=== 21.04.2026 - Previous Works and The Initial Idea ===<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
<br />
<br />
=== Augury Grid ===<br />
For thousands of years, humans looked up before they looked down. Birds were not simply part of the landscape. they were a way of reading it. Across cultures, their movements shaped decisions about where cities should be founded and how people should inhabit the land.<br />
<br />
Rome was founded through Augury, where vultures determined the city's site. The Aztecs built Tenochtitlan where an eagle landed on a cactus with a serpent in its beak. Along the Nile, the sacred ibis traced the rhythms of flood, agriculture and settlement. Birds did not predict the future; they revealed patterns within the world. Today, these practices have been replaced by the logic of zoning, efficiency and commercial value in architecture and urban design. Cities are planned to optimise movement, leaving little room for uncertainty, observation or wandering.<br />
<br />
The Sciences of the Imprecise (by Abraham Moles) reminds us that not all knowledge comes from precision or measurement. Some patterns can only be understood through careful observation. Birds still read the city differently; they follow thermals, waterways, vegetation and seasonal rhythms rather than streets and property lines.<br />
<br />
The Situationists proposed the dérive as a way of resisting the functional city. AUGURY GRID asks a similar question: what if we drift according to another species? Using live citizen-science bird sightings, the installation generates walking routes drawn by birds rather than planners. It does not revive augury as a method of prophecy, but as a method of perception-inviting participants to discover another way of reading the city.<br />
[[File:ConceptDiagram.jpg|thumb|1083x1083px]]<br />
<br />
=== Exhibition Documentation ===<br />
[[File:Augury Grid.jpg|left|thumb]]<br />
[[File:The Interface.jpg|thumb|666x666px]]<br />
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References<br />
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Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki><br />
<br />
Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki><br />
<br />
Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5<br />
<br />
''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki><br />
<br />
Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki><br />
<br />
GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki><br />
<br />
Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki><br />
<br />
Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki><br />
<br />
''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki> <br />
<br />
Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki><br />
<br />
Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki><br />
<br />
Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki><br />
<br />
Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki><br />
<br />
Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki><br />
<br />
Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142847GMU:Patterns/Melisa Aslan2026-09-29T14:44:02Z<p>Melisaaslan: </p>
<hr />
<div>=== 21.04.2026 - Previous Works and The Initial Idea ===<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
<br />
<br />
=== Augury Grid ===<br />
For thousands of years, humans looked up before they looked down. Birds were not simply part of the landscape. they were a way of reading it. Across cultures, their movements shaped decisions about where cities should be founded and how people should inhabit the land.<br />
<br />
Rome was founded through Augury, where vultures determined the city's site. The Aztecs built Tenochtitlan where an eagle landed on a cactus with a serpent in its beak. Along the Nile, the sacred ibis traced the rhythms of flood, agriculture and settlement. Birds did not predict the future; they revealed patterns within the world. Today, these practices have been replaced by the logic of zoning, efficiency and commercial value in architecture and urban design. Cities are planned to optimise movement, leaving little room for uncertainty, observation or wandering.<br />
<br />
The Sciences of the Imprecise (by Abraham Moles) reminds us that not all knowledge comes from precision or measurement. Some patterns can only be understood through careful observation. Birds still read the city differently; they follow thermals, waterways, vegetation and seasonal rhythms rather than streets and property lines.<br />
<br />
The Situationists proposed the dérive as a way of resisting the functional city. AUGURY GRID asks a similar question: what if we drift according to another species? Using live citizen-science bird sightings, the installation generates walking routes drawn by birds rather than planners. It does not revive augury as a method of prophecy, but as a method of perception-inviting participants to discover another way of reading the city.<br />
[[File:ConceptDiagram.jpg|thumb|1083x1083px]]<br />
<br />
=== Exhibition Documentation ===<br />
[[File:Augury Grid.jpg|left|thumb]]<br />
[[File:The Interface.jpg|thumb|666x666px]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
References<br />
<br />
Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki><br />
<br />
Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki><br />
<br />
Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5<br />
<br />
''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki><br />
<br />
Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki><br />
<br />
GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki><br />
<br />
Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki><br />
<br />
Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki><br />
<br />
''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki> <br />
<br />
Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki><br />
<br />
Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki><br />
<br />
Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki><br />
<br />
Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki><br />
<br />
Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki><br />
<br />
Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Interface_-_Video.mov&diff=142846File:Interface - Video.mov2026-09-29T14:43:32Z<p>Melisaaslan: </p>
<hr />
<div>Video</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:The_Interface.jpg&diff=142845File:The Interface.jpg2026-09-29T14:33:17Z<p>Melisaaslan: </p>
<hr />
<div>The Interface. Captured by Julian Kreller</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:2._The_Interface.jpg&diff=142844File:2. The Interface.jpg2026-09-29T14:31:45Z<p>Melisaaslan: </p>
<hr />
<div>Captured by Julian Kreller</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Augury_Grid.jpg&diff=142843File:Augury Grid.jpg2026-09-29T14:28:59Z<p>Melisaaslan: </p>
<hr />
<div>1. The interface. Captured by Julian Kreller</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:ConceptDiagram.jpg&diff=142842File:ConceptDiagram.jpg2026-09-29T14:13:20Z<p>Melisaaslan: </p>
<hr />
<div>Diagram</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142841GMU:Patterns/Melisa Aslan2026-09-29T07:37:32Z<p>Melisaaslan: </p>
<hr />
<div>= 21.04.2026 - Previous Works and The Initial Idea =<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
====== References ======<br />
Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki><br />
<br />
Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki><br />
<br />
Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5<br />
<br />
''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki><br />
<br />
Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki><br />
<br />
GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki><br />
<br />
Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki><br />
<br />
Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki><br />
<br />
''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki> <br />
<br />
Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki><br />
<br />
Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki><br />
<br />
Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki><br />
<br />
Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki><br />
<br />
Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki><br />
<br />
Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki><br />
<br />
= Introduction =<br />
<span lang="en" dir="ltr">Architects and urban planners shape our cities according to ownership of urban land and the land market. This is because legal and econom-</span><br />
<br />
<span lang="en" dir="ltr">ic history affects city-making is an enormous subject. Cities are planned by religious orders too, such as the Cistercians in Gascony and the</span><br />
<br />
<span lang="en" dir="ltr">Teutonic Order in eastern Europe, the Franciscan mission in Spanish Mexico and the aldeias of the Jesuits in Amazonia and central Brazil</span><br />
<br />
<span lang="en" dir="ltr">(Kostof, 1991).</span><br />
<br />
<span lang="en" dir="ltr"><br /><br />
Architects and urban designers mostly develop cities by analysing commercial areas infrastructures today the plans are mostly imposed by</span><br />
<br />
<span lang="en" dir="ltr">politicians. Even when we, architects, try to read the historical development of a city, we falsely read them , especially when we see an organic</span><br />
<br />
<span lang="en" dir="ltr">plan. Kostof says and proves that Siena was one of those false readings of a city plan. It is again more likely to be elated to the regimented design</span><br />
<br />
<span lang="en" dir="ltr">of medieval urbanism. (Kostof, 1991 p.70-71)</span><br />
<br />
<span lang="en" dir="ltr"><br /><br />
This project tries to find and alternative reading and analyiss og cities by asking these questions:</span><br />
<br />
<span lang="en" dir="ltr"><big>What if cities were shaped by something other than land, markets, and master plans?</big></span><br />
<br />
<span lang="en" dir="ltr"><big>How can we analyse and perceive our cities from ecological behaviour: water, wind, or animal paths data and re-experience them?</big></span><br />
<br />
<br />
<br />
'''Mexico City (Tenochtitlan)'''<br />
<br />
The Aztec foundation myth is literally a bird omen. An eagle landing on a cactus, eating a serpent, told them where to build. The entire city<br />
<br />
was founded on this omen. The modern city sits exactly on that spot, now buried under concrete. The installation here would be devastating:<br />
<br />
the city that was built because a bird landed there, and you can't see a single bird from the centre of it anymore.<br />
<br />
'''Rome'''<br />
<br />
While seeking the perfect location for their new city, the twins wandered across the seven hills (Aventine, Celio, Capitol, Esquiline, Palatine,<br />
<br />
Quirinal and Viminal). Remus wished to start the city on Aventine Hill, while Romulus preferred Palatine Hill. To decide which brother was<br />
<br />
right, they agreed to consult augury, where birds are examined to see what the gods favoured. Remus claimed to have seen six birds, where-<br />
<br />
as his brother had seen twelve. Even though Romulus had seen more birds, Remus argued that he had seen them first and therefore the city<br />
<br />
should be built on the Aventine Hill. Meanwhile, Romulus began to build a wall on his hill, which Remus decided to jump over.<br />
<br />
Augury was literally constitutional; Roman law required reading birds before any major civic decision. The city's founding is a bird story:<br />
<br />
Romulus saw twelve vultures, Remus saw six, and that decided who built the walls. The seven hills were augural observation points before<br />
<br />
they were administrative districts. The city is already a frozen augury reading. One of the most famous auspices is the one which is connected<br />
<br />
with the founding of Rome. Once the founders of Rome, Romulus and Remus, arrived at the Palatine Hill, the two argued over where the<br />
<br />
exact position of the city should be. Romulus was set on building the city upon the Palatine, but Remus wanted to build the city on the strategic<br />
<br />
and easily fortified Aventine Hill. The two agreed to settle their argument by testing their abilities as augurs and by the will of the gods. Each<br />
<br />
took a seat on the ground apart from one another, and, according to Plutarch, Remus saw six vultures, after which Romulus saw twelve. The<br />
<br />
two clashed over whether the preference of the gods was indicated by Remus seeing vultures before Romulus did, or by Romulus seeing<br />
<br />
twelve vultures while Remus saw six. Vultures were pre-eminent in Roman augury, furnishing the strongest signs an augur could receive from<br />
<br />
a wild bird. They were subject to protective taboos and also called sacred birds.<br />
<br />
'''Cairo / Memphis'''<br />
<br />
The ibis was Thoth, scribe, measurer, the god of knowledge and urban order. Ancient Egyptian cities aligned with bird migration and Nile<br />
<br />
flood patterns simultaneously. The sacred ibis nested along the Nile in patterns that</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Melisa_Aslan&diff=142779Melisa Aslan2026-09-21T12:46:50Z<p>Melisaaslan: /* Introduction */</p>
<hr />
<div>== Summary ==<br />
Smell the Glow is a wearable that translates the state of a community energy grid into scent. Renewable energy availability constantly shifts, yet we only learn about it by looking at the screen of Lumina, so the habits that would follow from it never form. The object, a small pin-like piece worn on the body, releases fresh floral or citrus notes when there is an energy surplus, and sharp, acrid ones when there is a deficit. Earthy, neutral scents mark balance. Because scent bypasses the rational and needs no notification, it lets people feel the grid instead of reading it, for instance at the moment they start the washing machine. The project moves from Lumina's ambient light and sound in the home to a constant, intimate bodily signal. It asks whether complex systems like energy, water or air can be understood through scent and touch rather than numbers.<br />
<br />
====== Presentation - [https://gamma.app/docs/Smell-the-Glow-jlvyk15jpwvxam4 Link] ======</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:MelisaAslan_Smell-the-Glow.pdf&diff=142778File:MelisaAslan Smell-the-Glow.pdf2026-09-21T10:43:17Z<p>Melisaaslan: </p>
<hr />
<div>Presentation created by Gamma AI during the workshop.</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142740GMU:Patterns/Melisa Aslan2026-08-28T20:17:10Z<p>Melisaaslan: </p>
<hr />
<div>= 21.04.2026 - Previous Works and The Initial Idea =<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
====== References ======<br />
Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki><br />
<br />
Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki><br />
<br />
Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5<br />
<br />
''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki><br />
<br />
Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki><br />
<br />
GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki><br />
<br />
Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki><br />
<br />
Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki><br />
<br />
''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki> <br />
<br />
Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki><br />
<br />
Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki><br />
<br />
Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki><br />
<br />
Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki><br />
<br />
Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki><br />
<br />
Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki><br />
<br />
= Introduction =<br />
Architects and urban planners shape our cities according to ownership of urban land and the land market. This is because legal and econom-<br />
<br />
ic history affects city-making is an enormous subject. Cities are planned by religious orders too, such as the Cistercians in Gascony and the<br />
<br />
Teutonic Order in eastern Europe, the Franciscan mission in Spanish Mexico and the aldeias of the Jesuits in Amazonia and central Brazil<br />
<br />
(Kostof, 1991).<br />
<br />
<br />
Architects and urban designers mostly develop cities by analysing commercial areas, infrastructures today the plans are mostly imposed by<br />
<br />
politicians. Even when we, architects, try to read the historical development of a city we falsly read them especially when we see an organic<br />
<br />
plan. Kostof says and proves that Siena was one of those false reading of a city plan. It is again more likely to related to the regimented design<br />
<br />
of mediaval urbanism. (Kostof, 1991 p.70-71)<br />
<br />
<br />
This project tries to find and alternative reading and analysing cities by asking these questions:<br />
<br />
<big>'''What if cities were shaped by something other than land, markets, and master plans?'''</big><br />
<br />
<big>'''How can we analyse and perceive our cities from ecological behaviour: water, wind, or animal paths data and re-experience them?'''</big><br />
<br />
<br />
'''Mexico City (Tenochtitlan)'''<br />
<br />
The Aztec foundation myth is literally a bird omen. An eagle landing on a cactus, eating a serpent, told them where to build. The entire city<br />
<br />
was founded on this omen. The modern city sits exactly on that spot, now buried under concrete. The installation here would be devastating:<br />
<br />
the city that was built because a bird landed there, and you can't see a single bird from the centre of it anymore.<br />
<br />
'''Rome'''<br />
<br />
While seeking the perfect location for their new city, the twins wandered across the seven hills (Aventine, Celio, Capitol, Esquiline, Palatine,<br />
<br />
Quirinal and Viminal). Remus wished to start the city on Aventine Hill, while Romulus preferred Palatine Hill. To decide which brother was<br />
<br />
right, they agreed to consult augury, where birds are examined to see what the gods favoured. Remus claimed to have seen six birds, where-<br />
<br />
as his brother had seen twelve. Even though Romulus had seen more birds, Remus argued that he had seen them first and therefore the city<br />
<br />
should be built on the Aventine Hill. Meanwhile, Romulus began to build a wall on his hill, which Remus decided to jump over.<br />
<br />
Augury was literally constitutional — Roman law required reading birds before any major civic decision. The city's founding is a bird story:<br />
<br />
Romulus saw twelve vultures, Remus saw six, and that decided who built the walls. The seven hills were augural observation points before<br />
<br />
they were administrative districts. The city is already a frozen augury reading. One of the most famous auspices is the one which is connected<br />
<br />
with the founding of Rome. Once the founders of Rome, Romulus and Remus, arrived at the Palatine Hill, the two argued over where the<br />
<br />
exact position of the city should be. Romulus was set on building the city upon the Palatine, but Remus wanted to build the city on the strategic<br />
<br />
and easily fortified Aventine Hill. The two agreed to settle their argument by testing their abilities as augurs and by the will of the gods. Each<br />
<br />
took a seat on the ground apart from one another, and, according to Plutarch, Remus saw six vultures, after which Romulus saw twelve. The<br />
<br />
two clashed over whether the preference of the gods was indicated by Remus seeing vultures before Romulus did, or by Romulus seeing<br />
<br />
twelve vultures while Remus saw six. Vultures were pre-eminent in Roman augury, furnishing the strongest signs an augur could receive from<br />
<br />
a wild bird. They were subject to protective taboos and also called sacred birds.<br />
<br />
'''Cairo / Memphis'''<br />
<br />
The ibis was Thoth, scribe, measurer, the god of knowledge and urban order. Ancient Egyptian cities aligned with bird migration and Nile<br />
<br />
flood patterns simultaneously. The sacred ibis nested along the Nile in patterns that</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142739GMU:Patterns/Melisa Aslan2026-08-28T20:16:56Z<p>Melisaaslan: /* 21.04.2026 - Previous Works and The Initial Idea */</p>
<hr />
<div>= 21.04.2026 - Previous Works and The Initial Idea =<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
====== References ======<br />
Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki><br />
<br />
Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki><br />
<br />
Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5<br />
<br />
''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki><br />
<br />
Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki><br />
<br />
GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki><br />
<br />
Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki><br />
<br />
Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki><br />
<br />
''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki> <br />
<br />
Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki><br />
<br />
Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki><br />
<br />
Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki><br />
<br />
Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki><br />
<br />
Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki><br />
<br />
Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki><br />
<br />
=== Introduction ===<br />
Architects and urban planners shape our cities according to ownership of urban land and the land market. This is because legal and econom-<br />
<br />
ic history affects city-making is an enormous subject. Cities are planned by religious orders too, such as the Cistercians in Gascony and the<br />
<br />
Teutonic Order in eastern Europe, the Franciscan mission in Spanish Mexico and the aldeias of the Jesuits in Amazonia and central Brazil<br />
<br />
(Kostof, 1991).<br />
<br />
<br />
Architects and urban designers mostly develop cities by analysing commercial areas, infrastructures today the plans are mostly imposed by<br />
<br />
politicians. Even when we, architects, try to read the historical development of a city we falsly read them especially when we see an organic<br />
<br />
plan. Kostof says and proves that Siena was one of those false reading of a city plan. It is again more likely to related to the regimented design<br />
<br />
of mediaval urbanism. (Kostof, 1991 p.70-71)<br />
<br />
<br />
This project tries to find and alternative reading and analysing cities by asking these questions:<br />
<br />
<big>'''What if cities were shaped by something other than land, markets, and master plans?'''</big><br />
<br />
<big>'''How can we analyse and perceive our cities from ecological behaviour: water, wind, or animal paths data and re-experience them?'''</big><br />
<br />
<br />
'''Mexico City (Tenochtitlan)'''<br />
<br />
The Aztec foundation myth is literally a bird omen. An eagle landing on a cactus, eating a serpent, told them where to build. The entire city<br />
<br />
was founded on this omen. The modern city sits exactly on that spot, now buried under concrete. The installation here would be devastating:<br />
<br />
the city that was built because a bird landed there, and you can't see a single bird from the centre of it anymore.<br />
<br />
'''Rome'''<br />
<br />
While seeking the perfect location for their new city, the twins wandered across the seven hills (Aventine, Celio, Capitol, Esquiline, Palatine,<br />
<br />
Quirinal and Viminal). Remus wished to start the city on Aventine Hill, while Romulus preferred Palatine Hill. To decide which brother was<br />
<br />
right, they agreed to consult augury, where birds are examined to see what the gods favoured. Remus claimed to have seen six birds, where-<br />
<br />
as his brother had seen twelve. Even though Romulus had seen more birds, Remus argued that he had seen them first and therefore the city<br />
<br />
should be built on the Aventine Hill. Meanwhile, Romulus began to build a wall on his hill, which Remus decided to jump over.<br />
<br />
Augury was literally constitutional — Roman law required reading birds before any major civic decision. The city's founding is a bird story:<br />
<br />
Romulus saw twelve vultures, Remus saw six, and that decided who built the walls. The seven hills were augural observation points before<br />
<br />
they were administrative districts. The city is already a frozen augury reading. One of the most famous auspices is the one which is connected<br />
<br />
with the founding of Rome. Once the founders of Rome, Romulus and Remus, arrived at the Palatine Hill, the two argued over where the<br />
<br />
exact position of the city should be. Romulus was set on building the city upon the Palatine, but Remus wanted to build the city on the strategic<br />
<br />
and easily fortified Aventine Hill. The two agreed to settle their argument by testing their abilities as augurs and by the will of the gods. Each<br />
<br />
took a seat on the ground apart from one another, and, according to Plutarch, Remus saw six vultures, after which Romulus saw twelve. The<br />
<br />
two clashed over whether the preference of the gods was indicated by Remus seeing vultures before Romulus did, or by Romulus seeing<br />
<br />
twelve vultures while Remus saw six. Vultures were pre-eminent in Roman augury, furnishing the strongest signs an augur could receive from<br />
<br />
a wild bird. They were subject to protective taboos and also called sacred birds.<br />
<br />
'''Cairo / Memphis'''<br />
<br />
The ibis was Thoth, scribe, measurer, the god of knowledge and urban order. Ancient Egyptian cities aligned with bird migration and Nile<br />
<br />
flood patterns simultaneously. The sacred ibis nested along the Nile in patterns that</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142738GMU:Patterns/Melisa Aslan2026-08-28T20:16:19Z<p>Melisaaslan: /* 21.04.2026 - Previous Works and The Initial Idea */</p>
<hr />
<div>== 21.04.2026 - Previous Works and The Initial Idea ==<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
====== References ======<br />
Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki><br />
<br />
Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki><br />
<br />
Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5<br />
<br />
''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki><br />
<br />
Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki><br />
<br />
GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki><br />
<br />
Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki><br />
<br />
Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki><br />
<br />
''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki> <br />
<br />
Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki><br />
<br />
Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki><br />
<br />
Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki><br />
<br />
Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki><br />
<br />
Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki><br />
<br />
Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki><br />
<br />
=== Introduction ===<br />
Architects and urban planners shape our cities according to ownership of urban land and the land market. This is because legal and econom-<br />
<br />
ic history affects city-making is an enormous subject. Cities are planned by religious orders too, such as the Cistercians in Gascony and the<br />
<br />
Teutonic Order in eastern Europe, the Franciscan mission in Spanish Mexico and the aldeias of the Jesuits in Amazonia and central Brazil<br />
<br />
(Kostof, 1991).<br />
<br />
<br />
Architects and urban designers mostly develop cities by analysing commercial areas, infrastructures today the plans are mostly imposed by<br />
<br />
politicians. Even when we, architects, try to read the historical development of a city we falsly read them especially when we see an organic<br />
<br />
plan. Kostof says and proves that Siena was one of those false reading of a city plan. It is again more likely to related to the regimented design<br />
<br />
of mediaval urbanism. (Kostof, 1991 p.70-71)<br />
<br />
<br />
This project tries to find and alternative reading and analysing cities by asking these questions:<br />
<br />
<big>'''What if cities were shaped by something other than land, markets, and master plans?'''</big><br />
<br />
<big>'''How can we analyse and perceive our cities from ecological behaviour: water, wind, or animal paths data and re-experience them?'''</big><br />
<br />
<br />
'''Mexico City (Tenochtitlan)'''<br />
<br />
The Aztec foundation myth is literally a bird omen. An eagle landing on a cactus, eating a serpent, told them where to build. The entire city<br />
<br />
was founded on this omen. The modern city sits exactly on that spot, now buried under concrete. The installation here would be devastating:<br />
<br />
the city that was built because a bird landed there, and you can't see a single bird from the centre of it anymore.<br />
<br />
'''Rome'''<br />
<br />
While seeking the perfect location for their new city, the twins wandered across the seven hills (Aventine, Celio, Capitol, Esquiline, Palatine,<br />
<br />
Quirinal and Viminal). Remus wished to start the city on Aventine Hill, while Romulus preferred Palatine Hill. To decide which brother was<br />
<br />
right, they agreed to consult augury, where birds are examined to see what the gods favoured. Remus claimed to have seen six birds, where-<br />
<br />
as his brother had seen twelve. Even though Romulus had seen more birds, Remus argued that he had seen them first and therefore the city<br />
<br />
should be built on the Aventine Hill. Meanwhile, Romulus began to build a wall on his hill, which Remus decided to jump over.<br />
<br />
Augury was literally constitutional — Roman law required reading birds before any major civic decision. The city's founding is a bird story:<br />
<br />
Romulus saw twelve vultures, Remus saw six, and that decided who built the walls. The seven hills were augural observation points before<br />
<br />
they were administrative districts. The city is already a frozen augury reading. One of the most famous auspices is the one which is connected<br />
<br />
with the founding of Rome. Once the founders of Rome, Romulus and Remus, arrived at the Palatine Hill, the two argued over where the<br />
<br />
exact position of the city should be. Romulus was set on building the city upon the Palatine, but Remus wanted to build the city on the strategic<br />
<br />
and easily fortified Aventine Hill. The two agreed to settle their argument by testing their abilities as augurs and by the will of the gods. Each<br />
<br />
took a seat on the ground apart from one another, and, according to Plutarch, Remus saw six vultures, after which Romulus saw twelve. The<br />
<br />
two clashed over whether the preference of the gods was indicated by Remus seeing vultures before Romulus did, or by Romulus seeing<br />
<br />
twelve vultures while Remus saw six. Vultures were pre-eminent in Roman augury, furnishing the strongest signs an augur could receive from<br />
<br />
a wild bird. They were subject to protective taboos and also called sacred birds.<br />
<br />
'''Cairo / Memphis'''<br />
<br />
The ibis was Thoth, scribe, measurer, the god of knowledge and urban order. Ancient Egyptian cities aligned with bird migration and Nile<br />
<br />
flood patterns simultaneously. The sacred ibis nested along the Nile in patterns that</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142737GMU:Patterns/Melisa Aslan2026-08-28T20:15:49Z<p>Melisaaslan: </p>
<hr />
<div>=== 21.04.2026 - Previous Works and The Initial Idea ===<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
====== References ======<br />
Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki><br />
<br />
Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki><br />
<br />
Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5<br />
<br />
''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki><br />
<br />
Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki><br />
<br />
GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki><br />
<br />
Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki><br />
<br />
Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki><br />
<br />
''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki> <br />
<br />
Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki><br />
<br />
Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki><br />
<br />
Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki><br />
<br />
Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki><br />
<br />
Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki><br />
<br />
Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki><br />
<br />
=== Introduction ===<br />
Architects and urban planners shape our cities according to ownership of urban land and the land market. This is because legal and econom-<br />
<br />
ic history affects city-making is an enormous subject. Cities are planned by religious orders too, such as the Cistercians in Gascony and the<br />
<br />
Teutonic Order in eastern Europe, the Franciscan mission in Spanish Mexico and the aldeias of the Jesuits in Amazonia and central Brazil<br />
<br />
(Kostof, 1991).<br />
<br />
<br />
Architects and urban designers mostly develop cities by analysing commercial areas, infrastructures today the plans are mostly imposed by<br />
<br />
politicians. Even when we, architects, try to read the historical development of a city we falsly read them especially when we see an organic<br />
<br />
plan. Kostof says and proves that Siena was one of those false reading of a city plan. It is again more likely to related to the regimented design<br />
<br />
of mediaval urbanism. (Kostof, 1991 p.70-71)<br />
<br />
<br />
This project tries to find and alternative reading and analysing cities by asking these questions:<br />
<br />
<big>'''What if cities were shaped by something other than land, markets, and master plans?'''</big><br />
<br />
<big>'''How can we analyse and perceive our cities from ecological behaviour: water, wind, or animal paths data and re-experience them?'''</big><br />
<br />
<br />
'''Mexico City (Tenochtitlan)'''<br />
<br />
The Aztec foundation myth is literally a bird omen. An eagle landing on a cactus, eating a serpent, told them where to build. The entire city<br />
<br />
was founded on this omen. The modern city sits exactly on that spot, now buried under concrete. The installation here would be devastating:<br />
<br />
the city that was built because a bird landed there, and you can't see a single bird from the centre of it anymore.<br />
<br />
'''Rome'''<br />
<br />
While seeking the perfect location for their new city, the twins wandered across the seven hills (Aventine, Celio, Capitol, Esquiline, Palatine,<br />
<br />
Quirinal and Viminal). Remus wished to start the city on Aventine Hill, while Romulus preferred Palatine Hill. To decide which brother was<br />
<br />
right, they agreed to consult augury, where birds are examined to see what the gods favoured. Remus claimed to have seen six birds, where-<br />
<br />
as his brother had seen twelve. Even though Romulus had seen more birds, Remus argued that he had seen them first and therefore the city<br />
<br />
should be built on the Aventine Hill. Meanwhile, Romulus began to build a wall on his hill, which Remus decided to jump over.<br />
<br />
Augury was literally constitutional — Roman law required reading birds before any major civic decision. The city's founding is a bird story:<br />
<br />
Romulus saw twelve vultures, Remus saw six, and that decided who built the walls. The seven hills were augural observation points before<br />
<br />
they were administrative districts. The city is already a frozen augury reading. One of the most famous auspices is the one which is connected<br />
<br />
with the founding of Rome. Once the founders of Rome, Romulus and Remus, arrived at the Palatine Hill, the two argued over where the<br />
<br />
exact position of the city should be. Romulus was set on building the city upon the Palatine, but Remus wanted to build the city on the strategic<br />
<br />
and easily fortified Aventine Hill. The two agreed to settle their argument by testing their abilities as augurs and by the will of the gods. Each<br />
<br />
took a seat on the ground apart from one another, and, according to Plutarch, Remus saw six vultures, after which Romulus saw twelve. The<br />
<br />
two clashed over whether the preference of the gods was indicated by Remus seeing vultures before Romulus did, or by Romulus seeing<br />
<br />
twelve vultures while Remus saw six. Vultures were pre-eminent in Roman augury, furnishing the strongest signs an augur could receive from<br />
<br />
a wild bird. They were subject to protective taboos and also called sacred birds.<br />
<br />
'''Cairo / Memphis'''<br />
<br />
The ibis was Thoth, scribe, measurer, the god of knowledge and urban order. Ancient Egyptian cities aligned with bird migration and Nile<br />
<br />
flood patterns simultaneously. The sacred ibis nested along the Nile in patterns that</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Melisa_Aslan&diff=142682Melisa Aslan2026-07-13T14:53:48Z<p>Melisaaslan: Created page with "== Introduction == == Conceptualisation == == Presentation == [https://gamma.app/docs/Smell-the-Glow-jlvyk15jpwvxam4 Link] === Prototype's AI-Generated Photos ==="</p>
<hr />
<div>== Introduction ==<br />
<br />
== Conceptualisation ==<br />
<br />
== Presentation ==<br />
[https://gamma.app/docs/Smell-the-Glow-jlvyk15jpwvxam4 Link] <br />
<br />
=== Prototype's AI-Generated Photos ===</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Translating_the_Grid&diff=142681GMU:Translating the Grid2026-07-13T14:43:22Z<p>Melisaaslan: </p>
<hr />
<div>==Translating the Grid – From Electrical Data to Creative Experience==<br />
Mindaugas Gapševičius, Felix Bonowski, Alessandro Volpato, partners from Lumina project<br />
<br />
*June 17 and 18, 10:00-16:00<br />
*M7b, Room 201<br />
<br />
During this class, we will explore how data from the electrical grid — particularly renewable energy flows — can be translated into tangible, visual, and interactive experiences.<br />
<br />
At the center of the project is the Lumina device. The device functions as a real-time monitor of energy availability within a Renewable Energy Community. Using light as its primary medium, it communicates the presence and intensity of available energy: from white (no energy availability) to deep green (high renewable energy availability).<br />
<br />
Beyond passive display, the device invites interaction. Users can actively indicate when they are consuming energy, contributing to a shared layer of awareness within the community. In this way, Lumina becomes not just an information interface, but a tool for collective engagement and behavioral reflection.<br />
<br />
The class is structured in two parts:<br />
<br />
*A collaborative workshop, developed together with partners from the Lumina project, focusing on experimentation, data translation strategies, and interface prototyping.<br />
*Individual project development, where participants expand on insights from the workshop and formulate their own concept or project proposal.<br />
<br />
The outcome may take technical, artistic, or hybrid forms, grounded in the exploration of how energy data can shape experience, interaction, and design.<br />
<br />
The successful completion of the course is the attendance of the seminar and the documented work on GMU wiki. The documentation may contain text, video, images, sketches, sound, and other digital formats.<br />
<br />
==References==<br />
*SUPERGAS by Superflex<br />
http://www.supergas.dk/installations/<br />
<br />
*Biotricity. Bacteria Battery by RIXC<br />
https://we-make-money-not-art.com/bacteria_battery/<br />
<br />
*Radio Mycelium by Martin Howse<br />
https://www.1010.co.uk/org/RMA.html<br />
<br />
*Earth Boot by Martin Howse<br />
https://www.1010.co.uk/org/earthcode.html<br />
<br />
*Self-Repair Lab, Case #2. I, Machine, and Energy Harvesting by Mindaugas Gapševičius<br />
https://triple-double-u.com/case-2-i-machine-and-energy-harvesting/<br />
<br />
== Documentation ==<br />
<br />
* [[Melisa Aslan]]</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Translating_the_Grid&diff=142680GMU:Translating the Grid2026-07-13T14:40:11Z<p>Melisaaslan: </p>
<hr />
<div>==Translating the Grid – From Electrical Data to Creative Experience==<br />
Mindaugas Gapševičius, Felix Bonowski, Alessandro Volpato, partners from Lumina project<br />
<br />
*June 17 and 18, 10:00-16:00<br />
*M7b, Room 201<br />
<br />
During this class, we will explore how data from the electrical grid — particularly renewable energy flows — can be translated into tangible, visual, and interactive experiences.<br />
<br />
At the center of the project is the Lumina device. The device functions as a real-time monitor of energy availability within a Renewable Energy Community. Using light as its primary medium, it communicates the presence and intensity of available energy: from white (no energy availability) to deep green (high renewable energy availability).<br />
<br />
Beyond passive display, the device invites interaction. Users can actively indicate when they are consuming energy, contributing to a shared layer of awareness within the community. In this way, Lumina becomes not just an information interface, but a tool for collective engagement and behavioral reflection.<br />
<br />
The class is structured in two parts:<br />
<br />
*A collaborative workshop, developed together with partners from the Lumina project, focusing on experimentation, data translation strategies, and interface prototyping.<br />
*Individual project development, where participants expand on insights from the workshop and formulate their own concept or project proposal.<br />
<br />
The outcome may take technical, artistic, or hybrid forms, grounded in the exploration of how energy data can shape experience, interaction, and design.<br />
<br />
The successful completion of the course is the attendance of the seminar and the documented work on GMU wiki. The documentation may contain text, video, images, sketches, sound, and other digital formats.<br />
<br />
==References==<br />
*SUPERGAS by Superflex<br />
http://www.supergas.dk/installations/<br />
<br />
*Biotricity. Bacteria Battery by RIXC<br />
https://we-make-money-not-art.com/bacteria_battery/<br />
<br />
*Radio Mycelium by Martin Howse<br />
https://www.1010.co.uk/org/RMA.html<br />
<br />
*Earth Boot by Martin Howse<br />
https://www.1010.co.uk/org/earthcode.html<br />
<br />
*Self-Repair Lab, Case #2. I, Machine, and Energy Harvesting by Mindaugas Gapševičius<br />
https://triple-double-u.com/case-2-i-machine-and-energy-harvesting/<br />
<br />
<br />
[[Melisa Aslan]]</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142560GMU:Patterns/Melisa Aslan2026-06-03T14:05:44Z<p>Melisaaslan: </p>
<hr />
<div>=== 21.04.2026 - Previous Works and The Initial Idea ===<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
====== References ======<br />
Bond, S. (2024, October 2). ''Mapping the Sky: Roman Augury in the Classroom — ANCIENT JEW REVIEW''. ANCIENT JEW REVIEW. <nowiki>https://www.ancientjewreview.com/read/2024/10/1/mapping-the-sky-roman-augury-in-the-classroom</nowiki><br />
<br />
Classicsvic. (2022, August 19). ''The Most Sacred Birds: Explaining the vulture’s significance in Roman augury''. Classical Association of Victoria. <nowiki>https://classicsvic.wordpress.com/2022/08/19/the-most-sacred-birds-explaining-the-vultures-significance-in-roman-augury/</nowiki><br />
<br />
Debord, G. (1957). Report on the construction of situations and on the conditions of the Situationist International tendency. In K. Knabb (Ed. & Trans.), ''Situationist International anthology'' (pp. 25–43). PM Press. (Original work published 1957) [1, 2, 3, 4, 5<br />
<br />
''DISPERSALS — Jessica J. Lee''. (n.d.). Jessica J. Lee. <nowiki>https://www.jessicajleewrites.com/dispersals</nowiki><br />
<br />
Fabrizi, M. (2018, February 9). Pirro Ligorio’s “Antiquae Urbis Romae Imago” (Image of the Ancient. . . ''SOCKS''. <nowiki>https://socks-studio.com/2016/03/13/pirro-ligorios-antiquae-urbis-romae-imago-image-of-the-ancient-city-of-rome-1561/</nowiki><br />
<br />
GOOD Magazine. (2007, April 18). ''GOOD Magazine: Natalie Jeremijenko'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=7AyjQEgjhGc</nowiki><br />
<br />
Jeremijenko, N. (2010, October 14). ''The art of the eco-mindshift'' [Video]. TED Talks. <nowiki>https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift</nowiki><br />
<br />
Maier, J. (2020). ''The Eternal City: A history of Rome in maps''. The University of Chicago Press. <nowiki>https://press.uchicago.edu/dam/ucp/books/pdf/9780226591452_Maier_Eternal_City_excerpt.pdf</nowiki><br />
<br />
''Mantıku’t-tayr: Kuş dili - Feridüddin Attar : Free Download, Borrow, and Streaming : Internet Archive''. (2018, August 6). Internet Archive. <nowiki>https://archive.org/details/Mantkut-tayrKuDili-FeridddinAttar/page/n7/mode/2up</nowiki> <br />
<br />
Mancebo, I. G. (n.d.). ''Romulus and Remus - The founding of Rome''. <nowiki>https://www.rome.net/romulus-and-remus</nowiki><br />
<br />
Montgomerie, B., & Montgomerie, B. (2019, August 15). ''The Sacred Sacred Ibis''. American Ornithological Society. <nowiki>https://americanornithology.org/the-sacred-sacred-ibis/</nowiki><br />
<br />
Paideia Media. (2023, July 28). ''Ashleigh Green | Birds in Roman Life and Myth | Paideia Institute Online Lecture'' [Video]. YouTube. <nowiki>https://www.youtube.com/watch?v=LTds5WClorY</nowiki><br />
<br />
Salingaros, N. A. (2016). THE PATTERNS OF ARCHITECTURE. In Lynda Burke, Randy Sovich, and Craig Purcell (Ed.), ''T3XTURE No. 3'' (pp. 7–24). CreateSpace Independent Publishing Platform. <nowiki>https://patterns.architexturez.net/system/files/salingaros-the-patterns-of-architecture-t3xture.pdf</nowiki><br />
<br />
Wikipedia contributors. (2024, February 10). ''Via Pontica''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Via_Pontica</nowiki><br />
<br />
Wikipedia contributors. (2026, March 30). ''Augury''. Wikipedia. <nowiki>https://en.wikipedia.org/wiki/Augury</nowiki></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns&diff=142443GMU:Patterns2026-05-11T06:28:21Z<p>Melisaaslan: /* Syllabus */</p>
<hr />
<div>[[File:ComfyUI 00250 .png|1100x1100px]]<br />
<br />
=Patterns. Acting in complex environments=<br />
Prof. Ursula Damm, Mindaugas Gapševičius<br />
<br />
A pattern describes a regularity in the world that repeats over time or across space, enabling recognition, prediction, and the emergence of order. Patterns in data corpora gained with sensors can only be observed through processes of analysis. However, patterns are not just something that we can recognise or derive from data. Addressing patterns of behavior can be a way of bringing things together, enabling understanding between human, non-human and non-machinic actors.<br />
<br />
The use of patterns can bridge the gap between different actors by referring to a known framework through which interaction may happen. By addressing mutually recognisable behaviors, patterns enable forms of understanding, even in matters that are yet unknown.<br />
<br />
Gregory Bateson uses the term “pattern which connects” to refer to the interconnectedness and underlying structures that exist within complex systems, whether in nature, society, or mind. He describes these patterns as blueprints that enable exchange, comprehension, and continuity.<br />
<br />
One way to understand how patterns can be incorporated into our artistic practice is through the example of dance. When two people dance together, their interaction is shaped by the dances they know, have learned, and how they danced before. Dancing always exceeds what has already been learned before. One might try to understand the other's movements in the context of 'dancing' as an inherited habit. While "reading" the other, one draws on knowledge that has established itself as a mode of social custom. For interacting, it is important to respond directly to the behavior of the other, even when it means departing from the known patterns of dancing. By recognizing the pattern one can even modify it.<br />
<br />
The project module welcomes participants to work on self-defined projects. The projects can correspond to their own areas of focus and can move freely within the context of the subject “Patterns.” The module offers literature and a thematic framework to sharpen and intensify the respective artistic practice. Students are expected to be able and willing to work in a self-organized manner and to actively engage in the discourses of the module.<br />
<br />
Prerequisites include prior enrollment in a specialized module with the co-workers of GMU or the Interface Design Professorship. An accompanying course of the modules of the professorship is recommended.<br />
<br />
To get your credits at the end of the module, you need to deliver an artwork, the media are your choice. <br />
<br />
During the first sessions, you are asked to deliver <br />
<br />
* a text describing your project (5-10 sentences) (example)<br />
* a picture related to the possible outcome<br />
* a diagram, showing what kind of impressions/data/inputs you will use, how they will be transformed and what should be the outcome. Exampes of artists working with diagrams: [https://www.gansterer.org/ Nicolaus Gansterer,] [https://www.pierogi2000.com/artists/ward-shelley/ Ward Shelly], [https://adelheidmers.org/ Adelheid Mers] <br />
You will be asekd to contextualize your project or to define a context in which your work should resonate. About this context you should make a presentation from about 20-30 minutes during the semester. '''Please let us know on what you will do this small lecture and when it should happen.''' <br />
<br />
==Syllabus==<br />
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan, Patterns I<br />
*20.04 [[/Democratisation of Art]] / Vortrag<br />
*21.04 Presentation of portfolios of students, short introduction of idea/project for the module<br />
*27.04 [[/Non-human performances]] / Vortrag<br />
*28.04 Definitive Presentation of the students projects <br />
*04.05 [[/Change of perspectives]] / Vortrag<br />
*05.05 Contextualising presentations of the students (Seoyeon, ...)<br />
*11.05 Patterns IV / Vortrag<br />
*12.05 Contextualising presentations of the students (Moritz, Öykü, Daria, Berkin - on Deleuze, Özge...)<br />
*18.05 Vortrag Michael Fischer<br />
*19.05 Contextualising presentations of the students (Melisa...)<br />
*25.05 Whit Monday / Pfingstmontag<br />
*26.05 Mid term presentations of the students<br />
*01.06<br />
*02.06 Mid term presentations of the students<br />
*08.06<br />
*09.06<br />
*15.06<br />
*16.06<br />
*22.06 Vortrag Kathrin Meyer<br />
*23.06 Michael Rudolph & Ursula Damm - Dusseldof Projekt<br />
*29.06<br />
*30.06<br />
*06.07 preparation Summaery Exhibition/Presentation<br />
*07.07 preparation Summaery Exhibition/Presentation<br />
<br />
==Students==<br />
<br />
* [[/Salma Ali]]<br />
* [[/Lilas Almalla]]<br />
* [[/Melisa Aslan]]<br />
* [[/Tim Auzinger]]<br />
* [[/Özge Börekci]]<br />
* [[/Lidya Colak]]<br />
* [[/Öykü Didinir]]<br />
* [[/Aysenur Eryilmaz]]<br />
* [[/Xenia Günther]]<br />
* [[/Bilge Isguzar]]<br />
* [[/Serap Kacmaz]]<br />
* [[/Marleen Kölmel]]<br />
* [[/Julian Kreller]]<br />
* [[/Moritz Lang]]<br />
* [[/Seoyeon Lee]]<br />
* [[/Daria Lukianchuk]]<br />
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]<br />
* [[/Berkin Yesil]]<br />
<br />
==Possible Topics for Presentations: ==<br />
<br />
* William Whythe<br />
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures] <br />
* Do Ho Suh<br />
* [https://www.haineshinterding.net/ Haines Hinterdinger]<br />
* [https://www.walidraad.com/ Walid Raad]<br />
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]<br />
* [https://www.martharosler.net/ Martha Rosler]<br />
<br />
==Inserts==<br />
*Kathi Glas: Chicks on Speed<br />
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system<br />
<br />
==Materials==<br />
* Gregory Bateson, Steps to an Ecology of Mind, p. 470<br />
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f<br />
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]<br />
*Cornelia Sollfrank and Felix Stalder: Contemporaneity in Embodied Data Practices https://researchportal.lsbu.ac.uk/ws/portalfiles/portal/13860170/TCC_20_Sollfrank_and_Stalder_15_converted.pdf<br />
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]<br />
*Team Scott Gilbert: As it was in the beginning, is now, and ever shall be in Microhabitable, edited by Fernando Garcia Dory and Lucia Pietroiusti [[File:Scott Gilbert.pdf]]<br />
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]<br />
*Art and Sustainability: Connecting Patterns for a Culture of Complexity. “From Batesons’s Sensibility to the pattern which connects, to a sensibility to patterns that connect” page 225 ff<br />
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki><br />
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/<br />
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/<br />
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped] <br />
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us<br />
*Lizan Freijsen: The Living Surface ISBN 978-9490322779<br />
<br />
==Artists List==<br />
*Lygia Clark https://portal.lygiaclark.org.br/en/archive<br />
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30<br />
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY<br />
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/<br />
*Martha de Menezes https://martademenezes.com/<br />
*David Bowen https://www.dwbowen.com/<br />
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us<br />
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1<br />
*Ryu Furusawa https://ryufurusawa.com/<br />
*Auger-Loizeau https://vimeo.com/user1914604<br />
*Thomas Thwaites https://www.thomasthwaites.com/<br />
*Hyunkoo Lee https://hyungkoolee.kr<br />
*Alan Wexler http://www.allanwexlerstudio.com/<br />
*Lozano Hemmer https://www.lozano-hemmer.com/<br />
*Disnovation https://disnovation.org/<br />
Ursula Damm's works on patterns: <br />
<br />
* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen] <br />
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]<br />
* [https://vimeo.com/5040654 Doves] <br />
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]<br />
* [https://ursuladamm.de/zeitraum-2005 Timescape]<br />
* [https://ursuladamm.de/598 598]<br />
* [https://ursuladamm.de/transits-2012 Transits]<br />
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]<br />
* [https://ursuladamm.de/membrane-2019 Membrane]<br />
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]<br />
* [https://ursuladamm.de/lichen Lichen Intelligence]</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns&diff=142442GMU:Patterns2026-05-11T06:28:08Z<p>Melisaaslan: /* Syllabus */</p>
<hr />
<div>[[File:ComfyUI 00250 .png|1100x1100px]]<br />
<br />
=Patterns. Acting in complex environments=<br />
Prof. Ursula Damm, Mindaugas Gapševičius<br />
<br />
A pattern describes a regularity in the world that repeats over time or across space, enabling recognition, prediction, and the emergence of order. Patterns in data corpora gained with sensors can only be observed through processes of analysis. However, patterns are not just something that we can recognise or derive from data. Addressing patterns of behavior can be a way of bringing things together, enabling understanding between human, non-human and non-machinic actors.<br />
<br />
The use of patterns can bridge the gap between different actors by referring to a known framework through which interaction may happen. By addressing mutually recognisable behaviors, patterns enable forms of understanding, even in matters that are yet unknown.<br />
<br />
Gregory Bateson uses the term “pattern which connects” to refer to the interconnectedness and underlying structures that exist within complex systems, whether in nature, society, or mind. He describes these patterns as blueprints that enable exchange, comprehension, and continuity.<br />
<br />
One way to understand how patterns can be incorporated into our artistic practice is through the example of dance. When two people dance together, their interaction is shaped by the dances they know, have learned, and how they danced before. Dancing always exceeds what has already been learned before. One might try to understand the other's movements in the context of 'dancing' as an inherited habit. While "reading" the other, one draws on knowledge that has established itself as a mode of social custom. For interacting, it is important to respond directly to the behavior of the other, even when it means departing from the known patterns of dancing. By recognizing the pattern one can even modify it.<br />
<br />
The project module welcomes participants to work on self-defined projects. The projects can correspond to their own areas of focus and can move freely within the context of the subject “Patterns.” The module offers literature and a thematic framework to sharpen and intensify the respective artistic practice. Students are expected to be able and willing to work in a self-organized manner and to actively engage in the discourses of the module.<br />
<br />
Prerequisites include prior enrollment in a specialized module with the co-workers of GMU or the Interface Design Professorship. An accompanying course of the modules of the professorship is recommended.<br />
<br />
To get your credits at the end of the module, you need to deliver an artwork, the media are your choice. <br />
<br />
During the first sessions, you are asked to deliver <br />
<br />
* a text describing your project (5-10 sentences) (example)<br />
* a picture related to the possible outcome<br />
* a diagram, showing what kind of impressions/data/inputs you will use, how they will be transformed and what should be the outcome. Exampes of artists working with diagrams: [https://www.gansterer.org/ Nicolaus Gansterer,] [https://www.pierogi2000.com/artists/ward-shelley/ Ward Shelly], [https://adelheidmers.org/ Adelheid Mers] <br />
You will be asekd to contextualize your project or to define a context in which your work should resonate. About this context you should make a presentation from about 20-30 minutes during the semester. '''Please let us know on what you will do this small lecture and when it should happen.''' <br />
<br />
==Syllabus==<br />
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan, Patterns I<br />
*20.04 [[/Democratisation of Art]] / Vortrag<br />
*21.04 Presentation of portfolios of students, short introduction of idea/project for the module<br />
*27.04 [[/Non-human performances]] / Vortrag<br />
*28.04 Definitive Presentation of the students projects <br />
*04.05 [[/Change of perspectives]] / Vortrag<br />
*05.05 Contextualising presentations of the students (Seoyeon, ...)<br />
*11.05 Patterns IV / Vortrag<br />
*12.05 Contextualising presentations of the students (Moritz, Öykü, Daria, Berkin - on Deleuze, Özge...)<br />
*18.05 Vortrag Michael Fischer<br />
*19.05 Contextualising presentations of the students (Melisa)<br />
*25.05 Whit Monday / Pfingstmontag<br />
*26.05 Mid term presentations of the students<br />
*01.06<br />
*02.06 Mid term presentations of the students<br />
*08.06<br />
*09.06<br />
*15.06<br />
*16.06<br />
*22.06 Vortrag Kathrin Meyer<br />
*23.06 Michael Rudolph & Ursula Damm - Dusseldof Projekt<br />
*29.06<br />
*30.06<br />
*06.07 preparation Summaery Exhibition/Presentation<br />
*07.07 preparation Summaery Exhibition/Presentation<br />
<br />
==Students==<br />
<br />
* [[/Salma Ali]]<br />
* [[/Lilas Almalla]]<br />
* [[/Melisa Aslan]]<br />
* [[/Tim Auzinger]]<br />
* [[/Özge Börekci]]<br />
* [[/Lidya Colak]]<br />
* [[/Öykü Didinir]]<br />
* [[/Aysenur Eryilmaz]]<br />
* [[/Xenia Günther]]<br />
* [[/Bilge Isguzar]]<br />
* [[/Serap Kacmaz]]<br />
* [[/Marleen Kölmel]]<br />
* [[/Julian Kreller]]<br />
* [[/Moritz Lang]]<br />
* [[/Seoyeon Lee]]<br />
* [[/Daria Lukianchuk]]<br />
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]<br />
* [[/Berkin Yesil]]<br />
<br />
==Possible Topics for Presentations: ==<br />
<br />
* William Whythe<br />
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures] <br />
* Do Ho Suh<br />
* [https://www.haineshinterding.net/ Haines Hinterdinger]<br />
* [https://www.walidraad.com/ Walid Raad]<br />
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]<br />
* [https://www.martharosler.net/ Martha Rosler]<br />
<br />
==Inserts==<br />
*Kathi Glas: Chicks on Speed<br />
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system<br />
<br />
==Materials==<br />
* Gregory Bateson, Steps to an Ecology of Mind, p. 470<br />
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f<br />
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]<br />
*Cornelia Sollfrank and Felix Stalder: Contemporaneity in Embodied Data Practices https://researchportal.lsbu.ac.uk/ws/portalfiles/portal/13860170/TCC_20_Sollfrank_and_Stalder_15_converted.pdf<br />
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]<br />
*Team Scott Gilbert: As it was in the beginning, is now, and ever shall be in Microhabitable, edited by Fernando Garcia Dory and Lucia Pietroiusti [[File:Scott Gilbert.pdf]]<br />
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]<br />
*Art and Sustainability: Connecting Patterns for a Culture of Complexity. “From Batesons’s Sensibility to the pattern which connects, to a sensibility to patterns that connect” page 225 ff<br />
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki><br />
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/<br />
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/<br />
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped] <br />
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us<br />
*Lizan Freijsen: The Living Surface ISBN 978-9490322779<br />
<br />
==Artists List==<br />
*Lygia Clark https://portal.lygiaclark.org.br/en/archive<br />
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30<br />
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY<br />
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/<br />
*Martha de Menezes https://martademenezes.com/<br />
*David Bowen https://www.dwbowen.com/<br />
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us<br />
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1<br />
*Ryu Furusawa https://ryufurusawa.com/<br />
*Auger-Loizeau https://vimeo.com/user1914604<br />
*Thomas Thwaites https://www.thomasthwaites.com/<br />
*Hyunkoo Lee https://hyungkoolee.kr<br />
*Alan Wexler http://www.allanwexlerstudio.com/<br />
*Lozano Hemmer https://www.lozano-hemmer.com/<br />
*Disnovation https://disnovation.org/<br />
Ursula Damm's works on patterns: <br />
<br />
* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen] <br />
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]<br />
* [https://vimeo.com/5040654 Doves] <br />
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]<br />
* [https://ursuladamm.de/zeitraum-2005 Timescape]<br />
* [https://ursuladamm.de/598 598]<br />
* [https://ursuladamm.de/transits-2012 Transits]<br />
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]<br />
* [https://ursuladamm.de/membrane-2019 Membrane]<br />
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]<br />
* [https://ursuladamm.de/lichen Lichen Intelligence]</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142387GMU:Patterns/Melisa Aslan2026-05-05T06:14:34Z<p>Melisaaslan: </p>
<hr />
<div>=== 21.04.2026 - Previous Works and The Initial Idea ===<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
====== References ======<br />
Kostof, S. (1991). ''The city shaped: urban patterns and meanings through history''.<br />
<br />
Batty, M. (2024). The computable city. In ''The MIT Press eBooks''. <nowiki>https://doi.org/10.7551/mitpress/14099.001.0001</nowiki></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142363GMU:Patterns/Melisa Aslan2026-05-03T18:19:47Z<p>Melisaaslan: </p>
<hr />
<div>=== 21.04.2026 - Previous Works and The Initial Idea ===<br />
[[File:Melisa - Introduction.pdf|thumb]]<br />
<br />
====== References ======<br />
Kostof, S. (1991). ''The city shaped: urban patterns and meanings through history''.<br />
<br />
Batty, M. (2024). The computable city. In ''The MIT Press eBooks''. <nowiki>https://doi.org/10.7551/mitpress/14099.001.0001</nowiki><br />
<br />
=== 05.05.2026 - Presentation of the Project Contexualisation ===</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Patterns/Melisa_Aslan&diff=142147GMU:Patterns/Melisa Aslan2026-04-23T16:01:08Z<p>Melisaaslan: Created page with "thumb"</p>
<hr />
<div>[[File:Melisa - Introduction.pdf|thumb]]</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Melisa_-_Introduction.pdf&diff=142146File:Melisa - Introduction.pdf2026-04-23T15:59:47Z<p>Melisaaslan: </p>
<hr />
<div>Introduction to the concept and the previous works</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Daphnia_pulex_(water_flea)&diff=138949Daphnia pulex (water flea)2024-09-21T11:22:03Z<p>Melisaaslan: </p>
<hr />
<div>=== 1. Introduction ===<br />
[[File:Daphnia Pulex .jpg|thumb|264x264px|'''Image 1.''' Daphnia Pulex, [https://animaldiversity.org/accounts/Daphnia_pulex/pictures/collections/contributors/Grzimek_inverts/Cladocera/Daphnia_pulex/ Image Source]]]'''''Daphnia pulex''''', known as water fleas, are freshwater crustaceans closely related to shrimp. Though microscopic, Daphnia are among the most visible small crustaceans, ranging in size from 0.2 to 5 mm. Their reproduction alternates between asexual and sexual cycles, with females laying eggs in warmer conditions, while males are produced under stressful circumstances like overcrowding or cold temperatures.<br />
<br />
Daphnia belongs to the group of metazoans, which also includes nematodes, bristle worms, and tardigrades. Metazoans feed on algae, bacteria, and protozoa, such as amoebas, flagellates, and ciliates, which help regulate bacterial populations, cycle nutrients, and enhance water clarity. Metazoans play a role in controlling protozoa and bacteria levels.<br />
<br />
<br />
<br />
'''Physical Characteristic'''<br />
[[File:Anatomy of Daphnia.png|thumb|210x210px|'''Image 2.''' Anatomy of Daphnia. Science in School. [https://www.scienceinschool.org/article/2022/hands-on-experiments-daphnia/ Image Source]]]<br />
Daphnia pulex has a characteristic translucent carapace, which allows scientists to observe internal processes such as heart rate, digestion, and reproduction in real time. Daphnia has a simple, open circulatory system with a single, small heart located dorsally. The heart rate is susceptible to changes in environmental factors such as temperature and oxygen levels, which makes them useful for toxicological studies. <br />
<br />
'''Environmental Factors''' <br />
<br />
Daphnia are highly sensitive to oxygen levels, the pH and the temperature of the water. When the oxygen is low, they may suffer physiological stress, which affects their heart rate and survival. Cooler temperatures slow their metabolism and reproduction. Acidic or fundamental conditions can be detrimental to their survival. They prefer a neutral to slightly alkaline pH and can be sensitive to changes in water hardness and salinity. <br />
<br />
'''Life Cycle and Reproduction''' <br />
[[File:The Reproduction Cycle of Daphnia.png|thumb|203x203px|'''Image 3'''. The reproduction cycle of Daphnia magna. [https://doi.org/10.1007/s11356-023-26169-0 Image Source]]]<br />
For most of the year, especially in favourable conditions, female Daphnia pulex reproduce through '''parthenogenesis''', producing genetically identical offspring. This allows rapid population growth, which is crucial for their survival in fluctuating environments. <br />
<br />
When environmental conditions become unfavourable, like in colder temperatures or overcrowded populations, Daphnia shifts to '''sexual reproduction.''' This involves producing males and mating to form resting eggs or ephippia. These eggs are capable of surviving extreme conditions like drying out or freezing, allowing the species to persist through harsh periods. <br />
<br />
=== '''2. Setting Up the Aquarium''' ===<br />
A small aquarium was used to contain the daphnia. <br />
<br />
For the water requirement, 1.5L Volvic brand mineral water was used to maintain the pH between '''6.5 and 8.5'''. Since Daphnia are sensitive to chlorine, the water must be dechlorinated water. <br />
<br />
'''The water plant''' and '''the snails''' were placed to regulate the oxygen inside the water and to filter.<br />
<br />
Also, the water temperature must be between '''18°C to 25°C''', therefore, the tank was placed in the daylight in the lab to provide sufficient conditions.<br />
<br />
[[File:Daphnia 9.jpg|frameless|210x210px]] [[File:Daphnia 8.jpg|frameless|210x210px]] [[File:Daphnia 5.jpg|frameless|210x210px]] [[File:Snails.jpg|frameless|210x210px]] [[File:Daphnia 11.jpg|frameless|210x210px]]<br />
<br />
=== 3. Introducing the Culture ===<br />
3x90 ml Daphnia culture was introduced to the tank.<br />
<br />
[[File:Daphnia 7.jpg|frameless|333x333px]] [[File:Daphnia 6.jpg|frameless|250x250px]] [[File:Daphnia 4.jpg|frameless|250x250px]] <br />
<br />
=== 4. Feeding the Daphnia ===<br />
2-3 small pinch of '''baker’s yeast''' were dissolved in water. Afterwards, the water started to get cloudy. <br />
<br />
[[File:Yeast Daphnia.jpg|frameless|250x250px]] [[File:Daphnia 2.jpg|frameless|250x250px]] [[File:Daphnia 1.jpg|frameless|333x333px]]<br />
<br />
The culture was fed every 1-2 days.<br />
<br />
=== 5. Troubleshooting ===<br />
Unfortunately, the amount of yeast caused the overfeeding of fleas. For the further process, the amount of it must be less than before and the water clarity should be taken into consideration to avoid overfeeding.<br />
<br />
<br />
<br />
''Documentation by'' Melisa Aslan<br />
<br />
=== '''<small>6. References</small>''' ===<br />
<small>Colbourne, J.K., et al. (2011). ''The Ecoresponsive Genome of Daphnia pulex''. ''Science'', 331(6017), 555-561.</small><br />
<br />
<small>Daphnia pulex. (n.d.-b). Retrieved on 06.09.2024 from https://cfb.unh.edu/cfbkey/html/Organisms/CCladocera/FDaphnidae/GDaphnia/Daphnia_pulex/daphniapulex.html</small><br />
<br />
<small>Guo, J., Ren, J., Chang, C., Duan, Q., Li, J., Kanerva, M., Yang, F., & Mo, J. (2023). Freshwater crustaceans exposed to active pharmaceutical ingredients: ecotoxicological effects and mechanisms. ''Environmental Science and Pollution Research'', ''30''(17), 48868–48902. Retrieved on 06.09.2024 from https://doi.org/10.1007/s11356-023-26169-0</small><br />
<br />
<small>Hill, P. (2022, August 17). Lagoon Water fleas as indicator organisms: About Daphnia | Triplepoint Environmental. ''Triplepoint Environmental''. Retrieved on 06.09.2024 from https://lagoons.com/blog/algae/lagoon-water-fleas/</small><br />
<br />
<small>Science in School. (2024, June 26). ''From drugs to climate change: hands-on experiments with Daphnia as a model organism – Science in School''. Retrieved on 06.09.2024 from https://www.scienceinschool.org/article/2022/hands-on-experiments-daphnia/</small><br />
<br />
<small>Wikipedia. (2023, December 3). ''Daphnia pulex''. Retrieved on 06.09.2024 from https://en.wikipedia.org/wiki/Daphnia_pulex</small></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:The_Reproduction_Cycle_of_Daphnia.png&diff=138948File:The Reproduction Cycle of Daphnia.png2024-09-21T11:15:16Z<p>Melisaaslan: </p>
<hr />
<div>The Reproduction Cycle of Daphnia</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Anatomy_of_Daphnia.png&diff=138947File:Anatomy of Daphnia.png2024-09-21T11:06:20Z<p>Melisaaslan: </p>
<hr />
<div>Female Daphnia magna from a laboratory culture of a clone originating in Lake Oued Mellah (Morocco), photo taken by Hugo Miguel Faria, António Pedro Fonseca</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Daphnia_pulex_(water_flea)&diff=138946Daphnia pulex (water flea)2024-09-20T18:28:10Z<p>Melisaaslan: </p>
<hr />
<div>[[File:Daphnia Pulex .jpg|thumb|210x210px|'''Image 1.''' Daphnia Pulex, [https://animaldiversity.org/accounts/Daphnia_pulex/pictures/collections/contributors/Grzimek_inverts/Cladocera/Daphnia_pulex/ Image Resource]]]<br />
[Draft]<br />
<br />
'''''Daphnia pulex''''', commonly known as water fleas, are freshwater crustaceans closely related to shrimp. Though microscopic, Daphnia are among the most visible small crustaceans, ranging in size from 0.2 to 5 mm. Their reproduction alternates between asexual and sexual cycles, with females laying eggs in warmer conditions, while males are produced under stressful circumstances like overcrowding or cold temperatures.<br />
<br />
Daphnia belong to the group of metazoans, which also includes nematodes, bristle worms, and tardigrades. Metazoans feed on algae, bacteria, and protozoa, such as amoebas, flagellates, and ciliates, which help regulate bacterial populations, cycle nutrients, and enhance water clarity. Metazoans play a role in controlling protozoa and bacteria levels.<br />
<br />
===== Physical Characteristic =====<br />
Daphnia pulex has a characteristic translucent carapace, which allows scientists to observe internal processes such as heart rate, digestion, and reproduction in real-time. <br />
<br />
...<br />
<br />
=== '''1. Setting Up the Aquarium''' ===<br />
A small aquarium was used to contain the daphnia. <br />
<br />
For the water requirement, 1.5L Volvic brand mineral water was used to maintain the pH between '''6.5 and 8.5'''. Since Daphnia are sensitive to chlorine, the water must be dechlorinated water. <br />
<br />
'''The water plant''' and '''the snails''' were placed to regulate the oxygen inside the water and to filter.<br />
<br />
Also, the water temperature must be between '''18°C to 25°C''', therefore, the tank was placed in the daylight in the lab to provide sufficient conditions.<br />
<br />
[[File:Daphnia 9.jpg|frameless|210x210px]] [[File:Daphnia 8.jpg|frameless|210x210px]] [[File:Daphnia 5.jpg|frameless|210x210px]] [[File:Snails.jpg|frameless|210x210px]] [[File:Daphnia 11.jpg|frameless|210x210px]]<br />
<br />
=== 2. Introducing the Culture ===<br />
3x90 ml Daphnia culture was introduced to the tank.<br />
<br />
[[File:Daphnia 7.jpg|frameless|333x333px]] [[File:Daphnia 6.jpg|frameless|250x250px]] [[File:Daphnia 4.jpg|frameless|250x250px]] <br />
<br />
=== 3. Feeding the Daphnia ===<br />
2-3 small pinch of '''baker’s yeast''' was dissolved in water. Afterwards the water started to get cloudy. <br />
<br />
[[File:Yeast Daphnia.jpg|frameless|250x250px]] [[File:Daphnia 2.jpg|frameless|250x250px]] [[File:Daphnia 1.jpg|frameless|333x333px]]<br />
<br />
The culture was fed in every 1-2 days.<br />
<br />
=== 4.Troubleshooting ===<br />
Unfourtanetly, the amount of the yeast caused the overfeeding for fleas. For the further process the amount of it must be less than before and the water clarity should be take into consediration to avoid overfeeding.<br />
<br />
<br />
<br />
''Documentation by'' Melisa Aslan<br />
<br />
=== '''<small>5.References</small>''' ===<br />
<small>''Daphnia pulex''. (n.d.-b). Retrieved on 06.09.2024 from https://cfb.unh.edu/cfbkey/html/Organisms/CCladocera/FDaphnidae/GDaphnia/Daphnia_pulex/daphniapulex.html</small><br />
<br />
<small>Hill, P. (2022, August 17). Lagoon Water fleas as indicator organisms: About Daphnia | Triplepoint Environmental. ''Triplepoint Environmental''. Retrieved on 06.09.2024 from https://lagoons.com/blog/algae/lagoon-water-fleas/</small><br />
<br />
<small>Wikipedia. (2023, December 3). ''Daphnia pulex''. Retrieved on 06.09.2024 from https://en.wikipedia.org/wiki/Daphnia_pulex</small></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Daphnia_pulex_(water_flea)&diff=138945Daphnia pulex (water flea)2024-09-20T18:27:20Z<p>Melisaaslan: </p>
<hr />
<div>[[File:Daphnia Pulex .jpg|thumb|210x210px|'''Image 1.''' Daphnia Pulex, [https://animaldiversity.org/accounts/Daphnia_pulex/pictures/collections/contributors/Grzimek_inverts/Cladocera/Daphnia_pulex/ Image Resource]]]<br />
[Draft]<br />
<br />
'''''Daphnia pulex''''', commonly known as water fleas, are freshwater crustaceans closely related to shrimp. Though microscopic, Daphnia are among the most visible small crustaceans, ranging in size from 0.2 to 5 mm. Their reproduction alternates between asexual and sexual cycles, with females laying eggs in warmer conditions, while males are produced under stressful circumstances like overcrowding or cold temperatures.<br />
<br />
Daphnia belong to the group of metazoans, which also includes nematodes, bristle worms, and tardigrades. Metazoans feed on algae, bacteria, and protozoa, such as amoebas, flagellates, and ciliates, which help regulate bacterial populations, cycle nutrients, and enhance water clarity. Metazoans play a role in controlling protozoa and bacteria levels.<br />
<br />
===== Physical Characteristic =====<br />
Daphnia pulex has a characteristic translucent carapace, which allows scientists to observe internal processes such as heart rate, digestion, and reproduction in real-time. <br />
<br />
...<br />
<br />
=== '''1. Setting Up the Aquarium''' ===<br />
A small aquarium was used to contain the daphnia. <br />
<br />
For the water requirement, 1.5L Volvic brand mineral water was used to maintain the pH between '''6.5 and 8.5'''. Since Daphnia are sensitive to chlorine, the water must be dechlorinated water. <br />
<br />
'''The water plant''' and '''the snails''' were placed to regulate the oxygen inside the water and to filter.<br />
<br />
Also, the water temperature must be between '''18°C to 25°C''', therefore, the tank was placed in the daylight in the lab to provide sufficient conditions.<br />
<br />
[[File:Daphnia 9.jpg|frameless|210x210px]] [[File:Daphnia 8.jpg|frameless|210x210px]] [[File:Daphnia 5.jpg|frameless|210x210px]] [[File:Snails.jpg|frameless|210x210px]] [[File:Daphnia 11.jpg|frameless|210x210px]]<br />
<br />
=== 2. Introducing the Culture ===<br />
3x90 ml Daphnia culture was introduced to the tank.<br />
<br />
[[File:Daphnia 7.jpg|frameless|333x333px]] [[File:Daphnia 6.jpg|frameless|250x250px]] [[File:Daphnia 4.jpg|frameless|250x250px]] <br />
<br />
=== 3. Feeding the Daphnia ===<br />
2-3 small pinch of '''baker’s yeast''' was dissolved in water. Afterwards the water started to get cloudy. <br />
<br />
[[File:Yeast Daphnia.jpg|frameless|250x250px]] [[File:Daphnia 2.jpg|frameless|250x250px]] [[File:Daphnia 1.jpg|frameless|333x333px]]<br />
<br />
The culture was fed in every 1-2 days.<br />
<br />
=== 4.Troubleshooting ===<br />
Unfourtanetly, the amount of the yeast caused the overfeeding for fleas. For the further process the amount of it must be less than before and the water clarity should be take into consediration to avoid overfeeding.<br />
<br />
<br />
<br />
''Documentation by'' Melisa Aslan<br />
<br />
'''<small>References</small>'''<br />
<br />
<small>''Daphnia pulex''. (n.d.-b). Retrieved on 06.09.2024 from https://cfb.unh.edu/cfbkey/html/Organisms/CCladocera/FDaphnidae/GDaphnia/Daphnia_pulex/daphniapulex.html</small><br />
<br />
<small>Hill, P. (2022, August 17). Lagoon Water fleas as indicator organisms: About Daphnia | Triplepoint Environmental. ''Triplepoint Environmental''. Retrieved on 06.09.2024 from https://lagoons.com/blog/algae/lagoon-water-fleas/</small><br />
<br />
<small>Wikipedia. (2023, December 3). ''Daphnia pulex''. Retrieved on 06.09.2024 from https://en.wikipedia.org/wiki/Daphnia_pulex</small></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Daphnia_pulex_(water_flea)&diff=138944Daphnia pulex (water flea)2024-09-20T17:35:31Z<p>Melisaaslan: </p>
<hr />
<div>[[File:Daphnia Pulex .jpg|thumb|225x225px|'''Image 1.''' Daphnia Pulex, [https://animaldiversity.org/accounts/Daphnia_pulex/pictures/collections/contributors/Grzimek_inverts/Cladocera/Daphnia_pulex/ Image Resource]]]<br />
'''''Daphnia pulex'',''' although often called water fleas, are freshwater crustaceans closely related to shrimp. Daphnia, the most common microscopic crustacean, can be visible to the naked eye, with lengths ranging from 0.2–5 mm. Their reproduction alternates between asexual and sexual reproduction, with females laying eggs during the warmer season and males only being produced during stressed conditions, such as overcrowding or cold temperatures.<br />
<br />
Daphnia are metazoan organisms, like nematodes, bristle worms, and tardigrades. Metazoa feeds on algae and bacteria, and algae- and bacteria-consuming protozoa like amoeba, flagellates, and ciliates. Protozoa control the bacterial population and pathogens, cycle nutrients, and improve water clarity. Metazoa keeps protozoa and bacterial populations in check.<br />
<br />
=== '''1. Setting Up the Aquarium''' ===<br />
A small aquarium was used to contain the daphnia. <br />
<br />
For the water requirement, 1.5L Volvic brand mineral water was used to maintain the pH between '''6.5 and 8.5'''. Since Daphnia are sensitive to chlorine, the water must be dechlorinated water. <br />
<br />
'''The water plant''' and '''the snails''' were placed to regulate the oxygen inside the water and to filter.<br />
<br />
Also, the water temperature must be between '''18°C to 25°C''', therefore, the tank was placed in the daylight in the lab to provide sufficient conditions.<br />
<br />
[[File:Daphnia 9.jpg|frameless|210x210px]] [[File:Daphnia 8.jpg|frameless|210x210px]] [[File:Daphnia 5.jpg|frameless|210x210px]] [[File:Snails.jpg|frameless|210x210px]] [[File:Daphnia 11.jpg|frameless|210x210px]]<br />
<br />
=== 2. Introducing the Culture ===<br />
3x90 ml Daphnia culture was introduced to the tank.<br />
<br />
[[File:Daphnia 7.jpg|frameless|333x333px]] [[File:Daphnia 6.jpg|frameless|250x250px]] [[File:Daphnia 4.jpg|frameless|250x250px]] <br />
<br />
=== 3. Feeding the Daphnia ===<br />
2-3 small pinch of '''baker’s yeast''' was dissolved in water. Afterwards the water started to get cloudy. <br />
<br />
[[File:Yeast Daphnia.jpg|frameless|250x250px]] [[File:Daphnia 2.jpg|frameless|250x250px]] [[File:Daphnia 1.jpg|frameless|333x333px]]<br />
<br />
The culture was fed in every 1-2 days.<br />
<br />
=== 4.Troubleshooting ===<br />
Unfourtanetly, the amount of the yeast caused the overfeeding for fleas. For the further process the amount of it must be less than before and the water clarity should be take into consediration to avoid overfeeding.<br />
<br />
<br />
<br />
''Documentation by'' Melisa Aslan<br />
<br />
'''<small>References</small>'''<br />
<br />
<small>''Daphnia pulex''. (n.d.-b). Retrieved on 06.09.2024 from https://cfb.unh.edu/cfbkey/html/Organisms/CCladocera/FDaphnidae/GDaphnia/Daphnia_pulex/daphniapulex.html</small><br />
<br />
<small>Hill, P. (2022, August 17). Lagoon Water fleas as indicator organisms: About Daphnia | Triplepoint Environmental. ''Triplepoint Environmental''. Retrieved on 06.09.2024 from https://lagoons.com/blog/algae/lagoon-water-fleas/</small><br />
<br />
<small>Wikipedia. (2023, December 3). ''Daphnia pulex''. Retrieved on 06.09.2024 from https://en.wikipedia.org/wiki/Daphnia_pulex</small></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Growing_microorganisms_for_bioart_projects_SoSe24&diff=138943GMU:Growing microorganisms for bioart projects SoSe242024-09-20T17:20:28Z<p>Melisaaslan: /* Daphnia pulex (water flea) */</p>
<hr />
<div>== About this course ==<br />
''Credits:'' 2 [[SWS]]<br />
<br />
''Venue:'' DIY Biolab @ [[Marienstraße 7b]], [[Marienstraße 7b/202|Room 204/202]]<br />
<br />
''Lecturer(s):'' Alessandro Volpato<br />
<br />
In this course you will learn how to cultivate different microorganisms that are used to produce bioart.<br />
<br />
Bioart is a discipline in which artists use living matter to pursue artistic research.<br />
<br />
During the course we will work with ''Physarim polycaphalum'' (slime mold), ''Daphnia pulex'' (water flea), Tardigrades (water bears), Euglena''s'' and the cultivation of algae in general and design fungal composite materials with ''Fomes fomentarius'' (tinder mushroom).<br />
<br />
Students will learn about what has been done in the bioart scene.<br />
<br />
Additionally, students will have access to the lab and allowed to pursue own bioart projects.<br />
<br />
NOTE: Attending the BioLab Driver's Licence is mandatory to attend this course<br />
<br />
'''Calendar''':<br />
<br />
29th Apr, 13.30 - 16:45<br />
<br />
6th Mai, , 13.30 - 15:00<br />
<br />
13th Mai, 13.30 - 18:00<br />
<br />
27th Mai, 13.30 - 16:45<br />
<br />
10th June, 13.30 - 15:00<br />
<br />
17th June, 13.30 - 16:45<br />
<br />
<br />
'''<u>TG GROUP FOR DOKU</u>''': https://t.me/+6MlFDD6fQ-U5MWQy<br />
<br />
== [[Physarum Policephalum (slime mold)]] ==<br />
>put docu to explain how to grow it and description of the organism<br />
<br />
== [[Fomes fomentarius (Tinder Mushroom)]] ==<br />
<br />
== [[Daphnia pulex (water flea)|Daphnia Pulex (Water Flea)]] ==<br />
<br />
== [[Tardigrade (water bear)]] ==<br />
<br />
== Euglena ==</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Daphnia_pulex_(water_flea)&diff=138942Daphnia pulex (water flea)2024-09-20T17:19:43Z<p>Melisaaslan: </p>
<hr />
<div>[[File:Daphnia Pulex .jpg|thumb|225x225px|'''Image 1.''' Daphnia Pulex, [https://animaldiversity.org/accounts/Daphnia_pulex/pictures/collections/contributors/Grzimek_inverts/Cladocera/Daphnia_pulex/ Image Resource]]]<br />
[DRAFT]<br />
<br />
'''''Daphnia pulex'',''' although often called water fleas, are freshwater crustaceans closely related to shrimp. Daphnia, the most common microscopic crustacean, can be visible to the naked eye, with lengths ranging from 0.2–5 mm. Their reproduction alternates between asexual and sexual reproduction, with females laying eggs during the warmer season and males only being produced during stressed conditions, such as overcrowding or cold temperatures.<br />
<br />
Daphnia are metazoan organisms, like nematodes, bristle worms, and tardigrades. Metazoa feeds on algae and bacteria, and algae- and bacteria-consuming protozoa like amoeba, flagellates, and ciliates. Protozoa control the bacterial population and pathogens, cycle nutrients, and improve water clarity. Metazoa keeps protozoa and bacterial populations in check.<br />
<br />
=== '''1. Setting Up the Aquarium''' ===<br />
A small aquarium was used to contain the daphnia. <br />
<br />
For the water requirement, 1.5L Volvic brand mineral water was used to maintain the pH between '''6.5 and 8.5'''. Since Daphnia are sensitive to chlorine, the water must be dechlorinated water. <br />
<br />
'''The water plant''' and '''the snails''' were placed to regulate the oxygen inside the water and to filter.<br />
<br />
Also, the water temperature must be between '''18°C to 25°C''', therefore, the tank was placed in the daylight in the lab to provide sufficient conditions.<br />
<br />
[[File:Daphnia 9.jpg|frameless|250x250px]] [[File:Daphnia 8.jpg|frameless|250x250px]] [[File:Daphnia 5.jpg|frameless|250x250px]] [[File:Snails.jpg|frameless|250x250px]] [[File:Daphnia 11.jpg|frameless|250x250px]]<br />
<br />
=== 2. Introducing the Culture ===<br />
3x90 ml Daphnia culture was introduced to the tank.<br />
<br />
[[File:Daphnia 7.jpg|frameless|333x333px]] [[File:Daphnia 6.jpg|frameless|250x250px]] [[File:Daphnia 4.jpg|frameless|250x250px]] <br />
<br />
=== 3. Feeding the Daphnia ===<br />
2-3 small pinch of '''baker’s yeast''' was dissolved in water. Afterwards the water started to get cloudy.<br />
<br />
[[File:Yeast Daphnia.jpg|frameless|250x250px]] [[File:Daphnia 2.jpg|frameless|250x250px]] [[File:Daphnia 1.jpg|frameless|333x333px]]<br />
<br />
=== 4. Maintaining Water Quality ===<br />
<br />
5.Troubleshooting<br />
<br />
...<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
''Documentation by'' Melisa Aslan<br />
<br />
'''<small>References</small>'''<br />
<br />
<small>''Daphnia pulex''. (n.d.-b). Retrieved on 06.09.2024 from https://cfb.unh.edu/cfbkey/html/Organisms/CCladocera/FDaphnidae/GDaphnia/Daphnia_pulex/daphniapulex.html</small><br />
<br />
<small>Hill, P. (2022, August 17). Lagoon Water fleas as indicator organisms: About Daphnia | Triplepoint Environmental. ''Triplepoint Environmental''. Retrieved on 06.09.2024 from https://lagoons.com/blog/algae/lagoon-water-fleas/</small><br />
<br />
<small>Wikipedia. (2023, December 3). ''Daphnia pulex''. Retrieved on 06.09.2024 from https://en.wikipedia.org/wiki/Daphnia_pulex</small></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Yeast_Daphnia.jpg&diff=138941File:Yeast Daphnia.jpg2024-09-20T17:13:25Z<p>Melisaaslan: </p>
<hr />
<div>Yeast_Daphnia</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_11.jpg&diff=138940File:Daphnia 11.jpg2024-09-20T17:11:02Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_11Photo taken by Lenore Hale</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Daphnia_pulex_(water_flea)&diff=138939Daphnia pulex (water flea)2024-09-20T17:09:06Z<p>Melisaaslan: Created page with "'''Image 1.''' Daphnia Pulex, [https://animaldiversity.org/accounts/Daphnia_pulex/pictures/collections/contributors/Grzimek_inverts/Cladocera/Daphnia_pulex/ Image Resource] [DRAFT] '''''Daphnia pulex'',''' although often called water fleas, are freshwater crustaceans closely related to shrimp. Daphnia, the most common microscopic crustacean, can be visible to the naked eye, with lengths ranging from 0.2–5 mm. Their reproduct..."</p>
<hr />
<div>[[File:Daphnia Pulex .jpg|thumb|225x225px|'''Image 1.''' Daphnia Pulex, [https://animaldiversity.org/accounts/Daphnia_pulex/pictures/collections/contributors/Grzimek_inverts/Cladocera/Daphnia_pulex/ Image Resource]]]<br />
[DRAFT]<br />
<br />
'''''Daphnia pulex'',''' although often called water fleas, are freshwater crustaceans closely related to shrimp. Daphnia, the most common microscopic crustacean, can be visible to the naked eye, with lengths ranging from 0.2–5 mm. Their reproduction alternates between asexual and sexual reproduction, with females laying eggs during the warmer season and males only being produced during stressed conditions, such as overcrowding or cold temperatures.<br />
<br />
Daphnia are metazoan organisms, like nematodes, bristle worms, and tardigrades. Metazoa feeds on algae and bacteria, and algae- and bacteria-consuming protozoa like amoeba, flagellates, and ciliates. Protozoa control the bacterial population and pathogens, cycle nutrients, and improve water clarity. Metazoa keeps protozoa and bacterial populations in check.<br />
<br />
=== '''1. Setting Up the Aquarium''' ===<br />
A small aquarium was used to contain the daphnia. <br />
<br />
For the water requirement, 1.5L Volvic brand mineral water was used to maintain the pH between '''6.5 and 8.5'''. Since Daphnia are sensitive to chlorine, the water must be dechlorinated water. <br />
<br />
'''The water plant''' and '''the snails''' were placed to regulate the oxygen inside the water and to filter.<br />
<br />
Also, the water temperature must be between '''18°C to 25°C''', therefore, the tank was placed in the daylight in the lab to provide sufficient conditions.<br />
<br />
[[File:Daphnia 9.jpg|frameless|250x250px]] [[File:Daphnia 8.jpg|frameless|250x250px]] [[File:Daphnia 5.jpg|frameless|250x250px]] [[File:Snails.jpg|frameless|250x250px]] [[File:Daphnia 10.jpg|frameless|250x250px]]<br />
<br />
=== 2. Introducing the Culture ===<br />
3x90 ml Daphnia culture was introduced to the tank.<br />
<br />
[[File:Daphnia 7.jpg|frameless|333x333px]] [[File:Daphnia 6.jpg|frameless|250x250px]] <br />
<br />
<br />
3. Feeding the Daphnia<br />
<br />
...<br />
<br />
4. Maintaining Water Quality<br />
<br />
...<br />
<br />
5.Troubleshooting<br />
<br />
...<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
''Documentation by'' Melisa Aslan<br />
<br />
'''<small>References</small>'''<br />
<br />
<small>''Daphnia pulex''. (n.d.-b). Retrieved on 06.09.2024 from https://cfb.unh.edu/cfbkey/html/Organisms/CCladocera/FDaphnidae/GDaphnia/Daphnia_pulex/daphniapulex.html</small><br />
<br />
<small>Hill, P. (2022, August 17). Lagoon Water fleas as indicator organisms: About Daphnia | Triplepoint Environmental. ''Triplepoint Environmental''. Retrieved on 06.09.2024 from https://lagoons.com/blog/algae/lagoon-water-fleas/</small><br />
<br />
<small>Wikipedia. (2023, December 3). ''Daphnia pulex''. Retrieved on 06.09.2024 from https://en.wikipedia.org/wiki/Daphnia_pulex</small></div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_10.jpg&diff=138938File:Daphnia 10.jpg2024-09-20T17:08:05Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_10, Taken by Lenore Hale</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Snails.jpg&diff=138937File:Snails.jpg2024-09-20T17:06:10Z<p>Melisaaslan: </p>
<hr />
<div>The photo taken by Nathalia</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_Video.mp4&diff=138925File:Daphnia Video.mp42024-09-20T13:54:57Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia Video</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_9.jpg&diff=138923File:Daphnia 9.jpg2024-09-20T13:53:56Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_9</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_8.jpg&diff=138922File:Daphnia 8.jpg2024-09-20T13:53:25Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_8</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_7.jpg&diff=138921File:Daphnia 7.jpg2024-09-20T13:52:57Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_7</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_6.jpg&diff=138920File:Daphnia 6.jpg2024-09-20T13:52:20Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_6</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_5.jpg&diff=138919File:Daphnia 5.jpg2024-09-20T13:51:34Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_5</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_4.jpg&diff=138918File:Daphnia 4.jpg2024-09-20T13:50:53Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_4</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_3.jpg&diff=138917File:Daphnia 3.jpg2024-09-20T13:47:25Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia_3</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_2.jpg&diff=138915File:Daphnia 2.jpg2024-09-20T13:40:34Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia 2</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_1.jpg&diff=138914File:Daphnia 1.jpg2024-09-20T13:39:39Z<p>Melisaaslan: </p>
<hr />
<div>Daphnia 1</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Daphnia_Pulex_.jpg&diff=138912File:Daphnia Pulex .jpg2024-09-20T13:14:49Z<p>Melisaaslan: </p>
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<div>Image from https://animaldiversity.org/accounts/Daphnia_pulex/pictures/collections/contributors/Grzimek_inverts/Cladocera/Daphnia_pulex/</div>Melisaaslanhttps://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Design_with_Fungi_/_Melisa_and_Lidya_/_TheProject&diff=137648GMU:Design with Fungi / Melisa and Lidya / TheProject2024-04-22T13:59:23Z<p>Melisaaslan: </p>
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<div>[https://michellebocker.com/Speculativegarden.html Speculative Garden]<br />
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The speculative garden project considers the future of symbiosis with the technological object, the more-than-human and the environment in terms of power and control in the context of global capitalism and posthumanism. <br />
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For this purpose licen was used, to reflect the idea of symbiosis on the environment with algorithms and artificial intelligence by using sensors, computers, photos and sounds from the environment.<br />
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The feedback and instances from the physical to the digital space, it creates an intangible figure of nature and are represented in this garden as an interface.<br />
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[https://tcaproject.net/portfolio/victimless-leather/ Victimless Leather]<br />
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Motivation <br />
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The aim was to create a "victimless utopia" which is against to material waste of global production and animal cruelty. <br />
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Plan<br />
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Victimless Leather explores the future consequences and potentials of using tissue engineering to develop consumer products in leather production. <br />
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Execution<br />
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This leather is cultured inside a custom-made perfusion chamber, inspired by the organ perfusion pump<br />
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[https://www.iaacblog.com/programs/hyper-articulated-mycomorph/ Hyper Articulated Mycomorph]<br />
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The Industrial Revolution has led to the fast production of non-renewable composite materials and as a result of this, interest in biomaterials for industrial applications is growing fast and mycelium is one the most studied ones.<br />
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In this research, mycelium PLA is produced for 3D printing and used to generate new and aesthetic possibilities for myco-composite objects, by observing and simulating the behaviour of mycelium in various substrates.<br />
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To explore this aspect of biodegradable and digital fabrication methods, a table prototype was created.</div>Melisaaslan