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GMU:Patterns/Democratisation of Art

2026-04-21T13:04:40Z

Miga: Created page with "Democratisation of art"

[[File:Democratisation-of-art.pdf|Democratisation of art]]

File:Democratisation-of-art.pdf

2026-04-21T13:04:14Z

Miga:

Democratisation of art

GMU:Patterns

2026-04-21T13:02:11Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan, Patterns I
*20.04 [[/Democratisation of Art]] / Vortrag
*21.04 Presentation of portfolios of students, short introduction of idea/project for the module
*27.04 Patterns II / Vortrag
*28.04 Definitive Presentation of the students projects
*04.05 Patterns III / Vortrag
*05.05 Contextualising presentations of the students
*11.05 Patterns IV / Vortrag
*12.05 Contextualising presentations of the students
*18.05 Vortrag Michael Fischer
*19.05
*25.05 Whit Monday / Pfingstmontag
*26.05 Mid term presentations of the students
*01.06
*02.06 Mid term presentations of the students
*08.06
*09.06
*15.06
*16.06
*22.06 Vortrag Kathrin Meyer
*23.06 Michael Rudolph & Ursula Damm - Dusseldof Projekt
*29.06
*30.06
*06.07 preparation Summaery Exhibition/Presentation
*07.07 preparation Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Patterns

2026-04-21T12:59:32Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan, Patterns I
*20.04 Democratisation of Art / Vortrag
*21.04 Presentation of portfolios of students, short introduction of idea/project for the module
*27.04 Patterns II / Vortrag
*28.04 Definitive Presentation of the students projects
*04.05 Patterns III / Vortrag
*05.05 Contextualising presentations of the students
*11.05 Patterns IV / Vortrag
*12.05 Contextualising presentations of the students
*18.05 Vortrag Michael Fischer
*19.05
*25.05 Whit Monday / Pfingstmontag
*26.05 Mid term presentations of the students
*01.06
*02.06 Mid term presentations of the students
*08.06
*09.06
*15.06
*16.06
*22.06 Vortrag Kathrin Meyer
*23.06 Michael Rudolph & Ursula Damm - Dusseldof Projekt
*29.06
*30.06
*06.07 preparation Summaery Exhibition/Presentation
*07.07 preparation Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Patterns

2026-04-21T12:51:26Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan
*21.04 Presentation of portfolios of students, short introdution of idea/project for the module
*27.04
*28.04 Definitive Presentation of the students projects
*04.05
*05.05 Contextualising presentations of the students
*11.05
*12.05 Contextualising presentations of the students
*18.05 Vortrag Michael Fischer
*19.05
*25.05 Whit Monday / Pfingstmontag
*26.05 Mid term presentations of the students
*01.06
*02.06 Mid term presentations of the students
*08.06
*09.06
*15.06
*16.06
*22.06 Vortrag Kathrin Meyer
*23.06 Michael Rudolph & Ursula Damm - Dusseldof Projekt
*29.06
*30.06
*06.07 preparation Summaery Exhibition/Presentation
*07.07 preparation Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Patterns

2026-04-21T12:50:49Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan
*21.04 Presentation of portfolios of students, short introdution of idea/project for the module
*27.04
*28.04 Definitive Presentation of the students projects
*04.05
*05.05 Contextualising presentations of the students
*11.05
*12.05 Contextualising presentations of the students
*18.05 Vortrag Michael Fischer
*19.05
*25.05 Whit Monday / Pfingstmontag
*26.05 Mid term presentations
*01.06
*02.06 Mid term presentations
*08.06
*09.06
*15.06
*16.06
*22.06 Vortrag Kathrin Meyer
*23.06 Michael Rudolph & Ursula Damm - Dusseldof Projekt
*29.06
*30.06
*06.07 preparation Summaery Exhibition/Presentation
*07.07 preparation Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Patterns

2026-04-21T12:47:39Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan
*21.04 Presentation of portfolios of students, short introdution of idea/project for the module
*27.04
*28.04 Definitive Presentation of the students projects
*04.05
*05.05
*11.05
*12.05
*18.05 Vortrag Michael Fischer
*19.05
*25.05 Whit Monday / Pfingstmontag
*26.05
*01.06
*02.06
*08.06
*09.06
*15.06
*16.06
*22.06 Vortrag Kathrin Meyer
*23.06 Michael Rudolph & Ursula Damm - Dusseldof Projekt
*29.06
*30.06
*06.07 preparation Summaery Exhibition/Presentation
*07.07 preparation Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Patterns

2026-04-21T12:40:32Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan
*21.04 Presentation of portfolios of students, short introdution of idea/project for the module
*27.04
*28.04 Definitive Presentation of the students projects
*04.05
*05.05
*11.05
*12.05
*18.05
*19.05
*25.05 Whit Monday / Pfingstmontag
*26.05
*01.06
*02.06
*08.06
*09.06
*15.06
*16.06
*22.06
*23.06
*29.06
*30.06
*06.07 preparation Summaery Exhibition/Presentation
*07.07 preparation Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Patterns

2026-04-21T12:37:39Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan
*21.04 Presentation of portfolios of students, short introdution of idea/project for the module
*27.04
*28.04 Definitive Presentation of the students projects
*04.05
*05.05
*11.05
*12.05
*18.05
*19.05
*25.05 Whit Monday / Pfingstmontag
*26.05
*01.06
*02.06
*08.06
*09.06
*15.06
*16.06
*22.06
*23.06
*29.06
*30.06
*07.07
*14.07 Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[User:Hannah Uhlmann|/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Re-enchanting the field

2026-04-21T09:28:10Z

Miga: /* SYLLABUS */

Erasmus+ Blended Intensiv Program (BIP). A collaboration between Bauhaus University Weimar (Sound Ecologies and Media Environments), the Estonian Academy of Arts (Master of Craft Studies), Potsdam University of Applied Sciences (Department of Design) and the Unniversity of Applied Arts (Transformation Studies) Vienna,Austria.

Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius (Bauhaus University Weimar)
 Prof. Monika Halkort (University of Applied Arts Vienna)
 Prof. Myriel Milicevic (Potsdam University of Applied Sciences)
 Prof. Kärt Ojavee (Estonian Academy of Arts)

<big>'''SCHEDULE'''</big>

'''Preparatory Sessions (Online):''' April 4th, 11th 25th and May 9th 2025
 '''Field visit, Narva, Estonia''' (including travel days): 18.5. – 25.5.2025
 '''Follow up & Project Review''' (online): June 20th and July 5th 2025

'''<big>ECTS AWARDED: 6 (4 SWS)</big>'''

'''Topics addressed:''' energy transitions, extractivism, industrial waste as material witness and driver of (geo)political transformations and change.

===RESULTS===
* https://fhpcloud.fh-potsdam.de/s/k49g2CYwPbaDsXG

=== SYLLABUS ===
* 04.04.2025 [[GMU:Re-enchanting the field/Welcome & Introduction|Welcome & Introduction]]
* 11.04.2025 [[GMU:Re-enchanting the field/Social & Political History of Oil Shale Production|Social & Political History of Oil Shale Production]]
* 25.04.2025 [[GMU:Re-enchanting the field/The geo-history of oil shale in Estonia|The geo-history of oil shale in Estonia]] + Methodological Briefing
* 09.05.2025 [[GMU:Re-enchanting the field/Preparation for Travel|Preparation for Travel]]

FIELDWEEK May 18th – 25

* 19.05.2025 [[GMU:Re-enchanting the field/EKA, Tallinn|EKA, Tallinn]]
* 20.05.2025 [[GMU:Re-enchanting the field/Travelling to Narva|Travelling to Narva]]
* 21.05.2025 [[GMU:Re-enchanting the field/Field visit auvre|Field visit auvre]]
* 22.05.2025 [[GMU:Re-enchanting the field/Field visit|Field visit and independent work]] / [[Independent work on projects]] / practical experiments
* 23.05.2025 Independent work on projects / Visit to Narva Venice
* 24.05.2025 All-day group presentations & Feedback
* 25.05.2025 Travel Day
==== '''<big>PROGRAM DESCRIPTION</big>''' ====
This course offers an intensive training in elemental ethnography and ecological research. During a week long fieldvisit to Narva, Estonia, near the Russian border we will investigate the material legacy of oil shale extraction in the Baltic region, focusing in particular on the historical entanglement of energy, substances, landscapes, and bodies, and their unintended proliferations and designs. The fieldvisit will be preceded by 4 online lectures to provide context and to introduce us to the main topcis and cpnceptual framing of our research.

Our main aim is to engage with the emergent properties of bio/geo-chemical waste in their broader geopolitical context and to unpack how they hold landscapes and bodies in colonial relations, long after the mining activities have been shut down.

More specifically we want to explore the recurrent cycles of decomposition, death and renewal that are shaping the ambivalent landscapes of extractivism in Estonia, making their queer connections and affinities visible and apparent for critical inquiry and future research.

===METHODOLOGY & TASKS===

Together with local residents and field guides, we will visit ash mountains, ghost villages and abandoned manufacturing plants, built under Soviet Occupation (1941 – 1991), when oil shale production was at its historical height. Additional insights will be provided by scientific inputs from researchers in biology, geology, and environmental history in preparatory sessions online.

The outcome of this collaborative exercise will be documented in a shared workbook (digital/online publication) based on group projects conducted in the field. The workbook will be designed as a living index of liminal relations that sustain the shale oil ecosystem, mapping how they animate, de/recompose and transform social and natural landscapes, organisms and bodies at different speeds, durations and levels of intensity. Drawing on acoustic sensing, environmental mappings, and elemental ethnography / bio-geochemical analysis, we hope to reveal the less noticeable tensions, collaborations, and attunements that emerge from ‘non-consensual inhabitations’ (Masco) and forced transfers and unpack how they facilitate and/or disrupt land-body relations against a backdrop of shifting geopolitical borders and energy regimes.

===LEARNING OBJECTIVES===
Participants in this workshop will develop an understanding of bio-chemical processes and relations as critical infrastructures of geopolitical transformations and recognize how socio-ecological change is as much about (re)configuring life and responsibility beyond the individual body (Murphy, 2017, p. 479) as it is premised upon structures of violence and extraction that require land and bodies as sacrifice zones.

===COURSE MATERIALS===
'''Course Materials (all)'''

https://drive.google.com/drive/folders/1HV75lDkZEHdtrAgx0-7SFfqAEqqGSGdL

'''Social and Cultural History of Oil Shale Production in Estonia (Text)'''

https://drive.google.com/drive/folders/1rlz26-7diSfn2Mp-YVLSBt_TdLZdldKl?usp=drive_link

'''Environmental Studies (Text)'''

https://drive.google.com/drive/folders/1yM6MCDSTPJWmKqPqw7r_KL6FQKmc9tjP?usp=drive_link

'''Ecology/Elemental Perspectives (Text)'''

https://drive.google.com/drive/folders/1P1DwGrEWz3HpTbfr9932CYUuRyl5atNK?usp=drive_link

*"Ocean earth: 1980 bis heute: 1980 bis heute. Ausstellung Neue Galerie am Landesmuseum Joanneum im Künstlerhaus Graz, Febr./März 1993"; Peter Weibel, Peter Fend, Thomas Donga Heike Rekampe ISBN 978-3927789722
* "Microhabitable"; Fernando Garcia Dory and Lucia Pietroiusti ISBN 978-3753303864
* "[https://www.diaphanes.net/titel/technologies-of-care-7046 Technologies of Care" by Yvonne Volkart]

'''Methodology'''

https://drive.google.com/drive/folders/1nHvoJGnypVfDTGesCPSrxdQw5lTeQ2i8?usp=drive_link

* [https://leida.artun.ee/en/issues/community-of-agents/in-praise-of-legwork Legwork]

* [[Feralatlas.org|Feral Atlas]]

'''Miroboard'''

https://miro.com/app/board/uXjVI4OmmIc=/

===EXPECTATIONS===
Participation in the trip to Estonia 18. -25. May 2025
 Interest in discourse, reading, research as well as hands-on material experiments around anthropocene & feral landscapes, relationality, more-than-human design, interdisciplinary, experimental and poetic approaches, team work
 Documentation and experimental storytelling (transferring findings and relations into visual, sonic, experimental narratives). These narratives will be published on a dedicated course website.
===PARTICIPANTS===
Bauhaus Universität Weimar
* [[/Cosmo Schüppel]]
* [[/Jan Munske]]
* [[/Karlotta Sperling]]
* [[/Kitman Yeung]]
* [[/Nina Bendix Igleses]]
* [[/Öykü Türkan]]
* [[/Rieke Hettinger]]
* [[GMU:Re-enchanting the field/Sabah Elhadid|Sabah Abouelhadid]]

Potsdam University of Applied Sciences
* [[/Marie Buschmann]]
* [[/Laura Günther]]
* [[/Helena Haak]]
* [[/Hannah Charlotte Krause]]
* [[GMU:Re-enchanting the field/I na K won|/Ina Kwon]]
* [[/Juliane Müller|/J uli ane Müll er]]
* [[/Jennifer Schnurr]]
* [[/Ragnar Wilczek|/]]RLW
* [[/Tilmann Finner]]

University of Applied Arts Vienna
* [[/Virginia Nicole Bonareri]]
* [[/Hans-Lionel Cayaban]]
* [[/Helin Ozdemir]]
* [[/Raphaela Leitner]]
* [[/Sara Karimi]]
* [[/Sofia Pechenaia]]
* [[/Yuri Turovskiy|/Yury Turovskiy]]
* [[/Jiun-You Ou]]

Estonian Academy of Arts
* [[/Chun Chow|/Odie Chow]]
* [[/Marite Helena Kuus|/Marite Kuus]]
* [[/Mariam Mestvirishvili]]
* [[/Hannah Caroline Segerkrantz]]

===BUDGET===

Participants receive stipends from the Erasmus programme to cover travel expenses.
===ACCOMMODATION===

We will be staying at Narva Art Residency (NART)
*https://www.nart.ee/en/residency/
*https://g.co/kgs/uLm4yKZ
The residency has two '''common sleeping areas''' which you can see [https://www.youtube.com/watch?v=avOYADrNMBY here]. To '''book a space''' please fill out this Google form https://docs.google.com/forms/d/e/1FAIpQLSfw00YebTE9C9GpAEJViwnC2q2s1tjGPMKmpTp9YLkhDR1abA/viewform?pli=1<nowiki/>The price for accommodation at NaRt is '''15€''' per night, '''75€''' for the whole week.

S'''ubmit''' your reservation '''by''' '''April 29th'''!

If you need or prefer more privacy, there are plenty of '''Air BnB''' spaces available in Narva. For further details see the info sheet below.

'''Info Sheet Accomodation & Arrival'''

https://drive.google.com/drive/folders/1DB6yc_PfR_PKR0QnDerWHTY-JDR-xenj?usp=drive_link

GMU:Patterns

2026-04-14T09:49:40Z

Miga: /* Students */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan
*21.04 Presentation of portfolios of students, short introdution of idea/project for the module
*28.04 Definitive Presentation of the students projects
*05.05
*12.05
*19.05
*26.05
*02.06
*09.06
*16.06
*23.06
*30.06
*01.07
*14.07 Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[/Jannik Strohm]]
* [[/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Patterns

2026-04-14T09:49:14Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan
*21.04 Presentation of portfolios of students, short introdution of idea/project for the module
*28.04 Definitive Presentation of the students projects
*05.05
*12.05
*19.05
*26.05
*02.06
*09.06
*16.06
*23.06
*30.06
*01.07
*14.07 Summaery Exhibition/Presentation

==Students==

* [[/Salma Ali]]
* [[/Lilas Almalla]]
* [[/Melisa Aslan]]
* [[/Tim Auzinger]]
* [[/Özge Börekci]]
* [[/Lidya Colak]]
* [[/Öykü Didinir]]
* [[/Aysenur Eryilmaz]]
* [[/Xenia Günther]]
* [[/Bilge Isguzar]]
* [[/Serap Kacmaz]]
* [[/Marleen Kölmel]]
* [[/Yevheniia Kravchuk]]
* [[/Julian Kreller]]
* [[/Moritz Lang]]
* [[/Seoyeon Lee]]
* [[/Daria Lukianchuk]]
* [[/Lisa-Maria Möller]]
* [[/Maria Smirnova]]
* [[/Jannik Strohm]]
* [[/Hannah Uhlmann]]
* [[/Berkin Yesil]]

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Patterns/Introduction of topic

2026-04-14T09:38:12Z

Miga: Created page with "Slides of the class File:1 Patterns.pdf"

Slides of the class [[File:1 Patterns.pdf]]

File:1 Patterns.pdf

2026-04-14T09:37:50Z

Miga:

Introduction to the class

GMU:Patterns

2026-04-14T09:36:20Z

Miga: /* Syllabus */

[[File:ComfyUI 00250 .png|1100x1100px]]

=Patterns. Acting in complex environments=
Prof. Ursula Damm, Mindaugas Gapševičius

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.

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.

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.

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.

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.

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.

To get your credits at the end of the module, you need to deliver an artwork, the media are your choice.

During the first sessions, you are asked to deliver

* a text describing your project (5-10 sentences) (example)
* a picture related to the possible outcome
* 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]
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.'''

==Syllabus==
*14.04 [[/Introduction of topic]], presentation of students, presentation of the semester plan
*21.04 Presentation of portfolios of students, short introdution of idea/project for the module
*28.04 Definitive Presentation of the students projects
*05.05
*12.05
*19.05
*26.05
*02.06
*09.06
*16.06
*23.06
*30.06
*01.07
*14.07 Summaery Exhibition/Presentation

==Possible Topics for Presentations: ==

* William Whythe
* [https://magazin.tu-braunschweig.de/en/m-post/picture-of-the-month-chladni-figures/ Chladi Figures]
* Do Ho Suh
* [https://www.haineshinterding.net/ Haines Hinterdinger]
* [https://www.walidraad.com/ Walid Raad]
* [https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]
* [https://www.martharosler.net/ Martha Rosler]

==Inserts==
*Kathi Glas: Chicks on Speed
*Michael Fischer: Lecture and Workshop on Tarot as an epistemic system

==Materials==
* Gregory Bateson, Steps to an Ecology of Mind, p. 470
* Andrew Pickering, “The Cybernetic Brain – Sketches of another future”, The University of Chicago Press. 2011, p. 19 f
* Sacha Kagan, Art and Sustainability. Connecting Patterns for a Culture of Complexity. Transcript 2011. [[File:Sacha Kagan on Bateson.pdf|thumb]]
*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
*Ursula Damm: Non-Machines Meet Art [[File:Non-Machines Meet Art-m.pdf]]
*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]]
*Andrew Pickering: Mangle of Practice [[File:10-AP-mangle of practice.pdf]]
*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
*[[Cities and Complexity|Michael Batty: Cities and Complexity]] <nowiki>ISBN 9780262524797</nowiki>
*Yvonne Volkart: Plant Intelligence - Towards a Vegetal Aesthetics https://insert.art/ausgaben/plant-intelligence/editorial/
*Ursula Damm Michaela Ott: Individual Interweavements https://insert.art/ausgaben/plant-intelligence/dividual-interweavements/
*[https://archive.org/details/cityshapedurbanp0000kost/mode/2up Spiro Kostof: The city shaped]
*William Whythe: Social Life of Small urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Lizan Freijsen: The Living Surface ISBN 978-9490322779

==Artists List==
*Lygia Clark https://portal.lygiaclark.org.br/en/archive
*Artist Talk by Nathalie Jeremijenko https://www.youtube.com/watch?v=UT_ZjbaRw30
*Dawn Corous https://www.youtube.com/watch?v=zF1uihdcZmY
*Tuur van Balen Revital Cohen https://www.cohenvanbalen.com/
*Martha de Menezes https://martademenezes.com/
*David Bowen https://www.dwbowen.com/
*William H White: Social Life of Small Urban Spaces https://www.youtube.com/watch?v=5QkJkT3M-Us
*Granular Synthesis Artists https://granularsynthesis.info/Artists-1
*Ryu Furusawa https://ryufurusawa.com/
*Auger-Loizeau https://vimeo.com/user1914604
*Thomas Thwaites https://www.thomasthwaites.com/
*Hyunkoo Lee https://hyungkoolee.kr
*Alan Wexler http://www.allanwexlerstudio.com/
*Lozano Hemmer https://www.lozano-hemmer.com/
*Disnovation https://disnovation.org/
Ursula Damm's works on patterns:

* [https://ursuladamm.de/spiegeln-drehen-1993 Spiegeln & Drehen]
* [https://ursuladamm.de/trace-pattern-ii-1998 Trace Pattern]
* [https://vimeo.com/5040654 Doves]
* [https://ursuladamm.de/memory-of-space-2002 Memory of Space]
* [https://ursuladamm.de/zeitraum-2005 Timescape]
* [https://ursuladamm.de/598 598]
* [https://ursuladamm.de/transits-2012 Transits]
* [https://ursuladamm.de/u-bahnhof-schadowstrasse Turnstile - Metro Station Schadowstraße]
* [https://ursuladamm.de/membrane-2019 Membrane]
* [https://ursuladamm.de/kontinuum-2020 Kontinuum]
* [https://ursuladamm.de/lichen Lichen Intelligence]

GMU:Audiovisual Interaction in TouchDesigner

2026-03-29T19:47:30Z

Miga:

Fach/Werkmodul
 Alexander König

==German version, for English, see below==
Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen.

Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen vernetzte, räumliche und interaktive Medienumgebungen? Wie lassen sich unterschiedliche Technologien – Videoprojektion, Multichannel-Audio mit Dante, Ambisonics, Sensorik, Mikroskopie und Sonifikation – sinnvoll kombinieren?

Das Seminar arbeitet mit der Infrastruktur des Digital Bauhaus Lab und bezieht weitere Räume der Universität ein, etwa das Hybride Lernatelier. Ziel ist es, technische Grundlagen mit räumlichem Denken und konzeptioneller Entwicklung zu verbinden und eigenständige Nutzungsszenarien für vernetzte Medienräume zu entwerfen.

Gastvorträge aus den Sounddepartments sowie eingeladene Künstlerinnen und Künstler ergänzen die praktische Arbeit um Einblicke in aktuelle künstlerische Praxis.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Dieses Seminar öffnet die Black Box der KI – nicht, um sie zu mystifizieren, sondern um sie verständlich zu machen. Wir beginnen mit einer zugänglichen Einführung in die Grundlagen von Machine Learning: Was bedeuten „Daten“, „Modelle“, „Training“ und „Vorhersage“ tatsächlich? Ziel ist es, technische Funktionsweisen von Marketing-Narrativen zu trennen – und KI weder zu dämonisieren noch zu verklären.

Im zweiten Teil verschieben wir den Blick auf die gesellschaftliche Dimension von Technik. Mit Gilbert Simondon verstehen wir Technik als etwas Offenes: Sie entsteht im Zusammenspiel mit sozialen und kulturellen Umgebungen. Technische Systeme sind keine abgeschlossenen Black Boxes, sondern relationale Gefüge, die sich weiterentwickeln.

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

==English version, for German, see above==
At the core of the seminar are the fundamental principles of TouchDesigner as a real-time environment for audiovisual systems. The course conveys not only software-specific workflows, but also transferable concepts: node-based logics, signal flow, data mapping, network structures, and performative control—applicable to other environments as well.

The focus lies on the design of digital environments: How do networked, spatial, and interactive media environments emerge? How can different technologies—video projection, multichannel audio with Dante, ambisonics, sensing, microscopy, and sonification—be meaningfully combined?

The seminar works with the infrastructure of the Digital Bauhaus Lab and incorporates additional university spaces, such as the Hybrid Learning Studio. The aim is to connect technical foundations with spatial thinking and conceptual development, and to design independent usage scenarios for networked media environments.

Guest lectures from the sound departments, as well as invited artists, complement the practical work with insights into current artistic practice.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===
This seminar opens the black box of AI—not to mystify it, but to make it understandable. We begin with an accessible introduction to the fundamentals of machine learning: what do “data,” “models,” “training,” and “prediction” actually mean? The aim is to separate technical mechanisms from marketing narratives—and to neither demonize nor glorify AI.

In the second part, we shift the focus to the societal dimension of technology. With Gilbert Simondon, we understand technology as something open: it emerges through its interaction with social and cultural environments. Technical systems are not closed black boxes, but relational assemblages that continue to evolve.

In parallel, we consider Theodor W. Adorno’s critique of the culture industry: culture and technology become standardized, economically organized, and optimized for efficiency. Difference is smoothed out, subjectivity formatted. In today’s platform economy, this logic manifests algorithmically: AI becomes a monopolistic form of power when models, data, and infrastructures are concentrated in the hands of a few corporations. The problem is not the technology itself, but its concentration within hegemonic structures.

The seminar moves between these two positions:
AI exists in a field of tension between open, shapeable technology (Simondon) and a standardized, monopolistically organized culture industry (Adorno). It is precisely within this tension that technology becomes political.

As a counterpoint, we examine artistic and subcultural practices that emerge deliberately outside of normalized systems—where art is not standardized, but risked. Figures such as Maya Deren, Kenneth Anger, and Peter Brötzmann demonstrate how aesthetic forms arise from margins, countercultures, and experimental milieus. Here, technology is not made efficient, but disrupted, defamiliarized, and reappropriated.

Subculture thus functions as a counter-model to the culture industry: a space in which difference remains possible—and in which AI can be conceived not as a monopolistic infrastructure, but as artistic material and a political tool.

GMU:Start

2026-03-29T19:46:44Z

Miga: /* SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses */

This is the wiki of the Media Environments chair. For the public website please refer to https://www.uni-weimar.de/gmu

==Featured Projects==
{|cellpadding="2px" cellspacing="2px" border="0" style="margin:10px 10px 10px 0; font-size:0.8em; line-height: 1;"
|width="300px"|[[File:Markt-und-Maus-2.jpg|300px|plug and pray|link=GMU:BFA MFA Finals#Stefan Pach: Markt und Maus]]

[[GMU:BFA MFA Finals#Stefan Pach: Markt und Maus |Markt und Maus]] (Market and Mouse) [[Stefan Pach |Stefan Pach]]

How can we make mice live by the rules of investment banking?

To improve the understanding of the dynamics of finance markets the "Market and Mouse"-System tries to simulate a part of the fiscal universe. The main analysis focuses on the aspect of investment banking. This is the field with the biggest possible profit. "Market and Mouse" investigates how mice decide if they have to choose between high risk but high value options and less lucrative possibilities.
 
 

|width="26px"|
|width="300px"|[[File:Brume1.jpg|300px|Brume|link=GMU:BFA MFA Finals#Sebastian Wolf .26 Michael Kugler: Brume]]

[http://einsdreidrei.com/Brume Brume] by [[Sebastian Wolf]] & Michael Kugler

In 'Brume', the artist duo Michael Kugler and Sebastian Wolf investigate immateriality by coaxing fog into a semi-geometrical, self-organizing form. The viewer becomes a catalyst for disturbance, generating turbulences that not only illustrate the carrying power of the air, but upset a perceived equilibrium, and reveal the spatial and temporal volatility of such a phenomenon. 'Brume' operates in the margins between ubiquity and the finite, symmetry and the amorphous, transience and permanence, and gesturing at the paradox of immateriality.
|-

|width="300px"|[[File:super-boxen front.jpg|Synbio|link=GMU:Synthetic Biology]]
|width="26px"|
|width="300px"|[[File:Plug and pray.png|300px|plug and pray|link=Mental Radio Arbeiten#Jörg Brinkmann: plug and pray]]

|-
|Super Cell is a fictional supermarket website offering speculative products related to Synthetic Biology and our project for iGEM 2010. [[GMU:Synthetic Biology|Super Cell]]
|
|„You shall not make for yourself an idol...“

...just google it.

plug & pray is an interactive artwork that allows believers to pray through their computer. plug & pray makes the search for God easier, with the help of the internet. plug & pray works as if you were praying. Believers use the pray device that activates a google image search for the word „God“ on the act of praying. plug & pray believers see the results of their prayers as spiritualized video, projected before their very eyes. [[Mental Radio Arbeiten#Jörg Brinkmann: plug and pray|Jörg Brinkmann: plug and pray]]
|}

Check out our archives with [[GMU:Works|student works]] and [[GMU:BFA MFA Finals|thesis works]] of BFA and MFA graduates.
 

== Research and Teaching Faculty ==
{|cellpadding="5"
|+
|-
|
Professor '''[[GMU:Ursula_Damm|Ursula Damm]]''' 
Marienstraße 5, Raum 304 
99423 Weimar 
Telefon:. +49 3643 / 58-3607 
E-Mail: ursula.damm [at] uni-weimar.de 
[http://www.ursuladamm.de ursuladamm.de] 
 
|

|
Artistic Associate 
'''[[GMU:Mindaugas Gapševičius|Mindaugas Gapševičius]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: mindaugas.gapsevicius [at] uni-weimar.de 
[http://www.triple-double-u.com triple-double-u.com] 
 
|}

Artistic Associate 
'''[[GMU:Alexander König|Alexander König]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
E-Mail: alexander.koenig [at] uni-weimar.de
[http://www.media-art-theory.com www.media-art-theory.com] 
 

Artistic Associate 
'''[[GMU:Isabella Lee Arturo|Isabella Lee Arturo]]''' 
Marienstraße 5, Raum 305 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: isabella.lee.arturo@uni-weimar.de isabella Lee Arturo[at] uni-weimar.de 
 
===[[GMU:Personen|other staff]]===

==SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses==
* [[GMU:Patterns|Patterns]] - Prof. Ursula Damm, Mindaugas Gapševičius
* [[GMU:Translating_the_Grid|Translating the Grid]] - Mindaugas Gapševičius, Felix Bonowski, Alessandro Volpato, partners from Lumina project
* [[GMU:Immersive Spaces (Part II): Art Installations with TouchDesigner|Immersive Spaces (Part II): Art Installations with TouchDesigner]] - Isabella Lee Arturo
* [[GMU:Relational interactions|Relational interactions]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[GMU:Diy biolab drivers license SoSe26|Diy biolab drivers license SoSe26]] - Alessandro Volpato
* [[GMU:Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance|Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance]]- Isabella Lee Arturo
* [[GMU:Audiovisual Interaction in TouchDesigner|Audiovisual Interaction in TouchDesigner]] - Alexander König

== WS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Back-to-Ecosystems|Back to Ecosystems]] - Mindaugas Gapševičius, Isabella Lee Arturo, Bethan Hughes
* [[GMU:sensing-the-campus|Sensing the Campus]] - Christian Doeller
* [[GMU:Wetlands|Wetlands]] - Prof. Angeliki Poulou, Prof. Laura Beloff, Prof. Kerstin Ergenzinger, Prof. Ursula Damm, Dr. Mindaugas Gapševičius, Prof. Dimitris Charitos, Prof. Alexandros Kontogeorgakopoulos, Prof. Katerina Antonopoulou, Prof. Haris Rizopoulos, Felix Bonowski
* [[GMU:Relationship patterns in the environments|Relationship patterns in the environments]] (Beziehungsmuster in den Umwelten) - Dr. Klaus Herbst (Fritze)
* [[GMU:Diy biolab drivers license WiSe25|Diy biolab drivers license WiSe25]] - Alessandro Volpato
* [[GMU:Computer aided fabrication in the wilderness WiSe25|Computer aided fabrication in the wilderness]] - Felix Bonowski
* [[Immersive Spaces (Part I): Art Installations with TouchDesigner and more]] - Isabella Lee Arturo
* [[DataNatures]] - Verena Friedrich, Dr. Klaus Herbst (Fritze), Dr. Alexander König

== SS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Technosolutionism + Silicone Nightmares|Technosolutionism + Silicone Nightmares]] - Bethan Hughes
* [[GMU:Hallucinating computers and dreaming non-machines|Hallucinating computers and dreaming non-machines]] - Prof. Ursula Damm, Isabella Lee Arturo, Dr. Mindaugas Gapševičius
* [[GMU:Re-enchanting the field|Re-enchanting the field]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[Speech-to-text-to-Actions]] - Isabella Lee Arturo
* [[Aesthetics of Macroworlds - An interdisciplinary journey into microscopic worlds using Touchdesigner]] - Dr. Alexander König, Alessandro Volpato
* [[The dimensions of Language - The functioning of AI between theory, practice and criticism.]] - Dr. Alexander König
* [[Touchdesigner Basics]] - Dr. Alexander König, Belcim Yavuz
* [[GMU:postcompost-forest-reset|PostCompost – Forest Reset]] - Christian Doeller, Klaus Fritze/Herbst, Prof. Ursula Damm
* [[GMU:Computer-aided-fabrication-in-the-wilderness|Computer aided fabrication in the wilderness]] - Felix Bonowski

== WS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==

* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann) GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann)]
* [[GMU:Performing for Machines (Body Work in Cybernetic Systems) - Isabella Lee Arturo]]
* [[GMU:Exhibitionist! (how to do Art Exhibitions) - Isabella Lee Arturo]]
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:The_Plant_Plant GMU:The Plant Plant – Christian Doeller, Klaus Fritze]
* [[GMU:Life_in_an_aquatic_ecosystem|GMU:Life in an aquatic ecosystem]] - Mindaugas Gapševičius, Alessandro Volpato

== SS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Data as Artistic Material]] - Juliane Götz, Sebastian Neitsch (Künstlerduo Quadrature)
*[[GMU:Winning natural habitats]] - Mindaugas Gapševičius & Klaus Herbst
*[[GMU:Diy biolab drivers licence SoSe24|GMU:DIY BioLab Driver's license]] - Alessandro Volpato
*[[GMU:Growing microorganisms for bioart projects SoSe24|GMU:Growing microorganisms for bioart projects]] - Alessandro Volpato
*[[GMU:Embodiment Toolkit|GMU:Embodiment Toolkit]] - Christian Doeller

== WS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Beings and Machines]] - Prof. Ursula Damm
*[[GMU:Non-machines]] - Mindaugas Gapševičius
*[[GMU:Tired Machines Orchestra]] - Christian Doeller
*[[GMU:Making the Artist Present. Exploring Performative Practices]] - Martin Mueller (Bauhaus.Modul)
*[[GMU:Diy biolab drivers licence|GMU:DIY BioLab Driver's licence]] - Alessandro Volpato
*[[GMU:Design with Fungi]] - Alessandro Volpato
*GMU: LICHEN Workshop The Lichenlounge featuring Edible Lichen - Dr. Klaus Fritze
*GMU: LICHEN Expedition: Biodiversity in Thuringia Forest - Dr. Klaus Fritze and Dr. Jan Vondrak

== SS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU: Maps, Territories and Possibility Spaces]] - Prof. Ursula Damm
*[[GMU:Photosynthesis and I]] - Mindaugas Gapsevicius

== WS 2022 – Aktuelle Lehrveranstaltungen – Current Courses ==
===Projektmodule===
*[[GMU:Construction - Destruction|Construction - Destruction]] - Prof. Ursula Damm

{{GMU:Lehrveranstaltungen/SS23}}

== WS 2022/23 – Vergangene Lehrveranstaltungen – Previous Courses ==
{{GMU:Lehrveranstaltungen/WS22}}

== Lehrveranstaltungen (Archiv) – Previous Courses ==
{{GMU:Previous Semesters}}

== Equipment ==
* [[GMU:Equipment|GMU Equipment]] – ''Equipment for Students of the Media Environments (GMU)''
* [[Equipment|Mediapoint]] – ''Equipment for all Students of Media Art + Design''

== Inside GMU ==
* [[GMU:Mailinglist|GMU Mailingliste]] – ''sign up using the [http://listserv.uni-weimar.de/mailman/listinfo/gmu web-interface]
* [[GMU:Links|GMU Linklist]]

{{Template:Help}}

GMU:Start

2026-03-29T19:45:58Z

Miga: /* SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses */

This is the wiki of the Media Environments chair. For the public website please refer to https://www.uni-weimar.de/gmu

==Featured Projects==
{|cellpadding="2px" cellspacing="2px" border="0" style="margin:10px 10px 10px 0; font-size:0.8em; line-height: 1;"
|width="300px"|[[File:Markt-und-Maus-2.jpg|300px|plug and pray|link=GMU:BFA MFA Finals#Stefan Pach: Markt und Maus]]

[[GMU:BFA MFA Finals#Stefan Pach: Markt und Maus |Markt und Maus]] (Market and Mouse) [[Stefan Pach |Stefan Pach]]

How can we make mice live by the rules of investment banking?

To improve the understanding of the dynamics of finance markets the "Market and Mouse"-System tries to simulate a part of the fiscal universe. The main analysis focuses on the aspect of investment banking. This is the field with the biggest possible profit. "Market and Mouse" investigates how mice decide if they have to choose between high risk but high value options and less lucrative possibilities.
 
 

|width="26px"|
|width="300px"|[[File:Brume1.jpg|300px|Brume|link=GMU:BFA MFA Finals#Sebastian Wolf .26 Michael Kugler: Brume]]

[http://einsdreidrei.com/Brume Brume] by [[Sebastian Wolf]] & Michael Kugler

In 'Brume', the artist duo Michael Kugler and Sebastian Wolf investigate immateriality by coaxing fog into a semi-geometrical, self-organizing form. The viewer becomes a catalyst for disturbance, generating turbulences that not only illustrate the carrying power of the air, but upset a perceived equilibrium, and reveal the spatial and temporal volatility of such a phenomenon. 'Brume' operates in the margins between ubiquity and the finite, symmetry and the amorphous, transience and permanence, and gesturing at the paradox of immateriality.
|-

|width="300px"|[[File:super-boxen front.jpg|Synbio|link=GMU:Synthetic Biology]]
|width="26px"|
|width="300px"|[[File:Plug and pray.png|300px|plug and pray|link=Mental Radio Arbeiten#Jörg Brinkmann: plug and pray]]

|-
|Super Cell is a fictional supermarket website offering speculative products related to Synthetic Biology and our project for iGEM 2010. [[GMU:Synthetic Biology|Super Cell]]
|
|„You shall not make for yourself an idol...“

...just google it.

plug & pray is an interactive artwork that allows believers to pray through their computer. plug & pray makes the search for God easier, with the help of the internet. plug & pray works as if you were praying. Believers use the pray device that activates a google image search for the word „God“ on the act of praying. plug & pray believers see the results of their prayers as spiritualized video, projected before their very eyes. [[Mental Radio Arbeiten#Jörg Brinkmann: plug and pray|Jörg Brinkmann: plug and pray]]
|}

Check out our archives with [[GMU:Works|student works]] and [[GMU:BFA MFA Finals|thesis works]] of BFA and MFA graduates.
 

== Research and Teaching Faculty ==
{|cellpadding="5"
|+
|-
|
Professor '''[[GMU:Ursula_Damm|Ursula Damm]]''' 
Marienstraße 5, Raum 304 
99423 Weimar 
Telefon:. +49 3643 / 58-3607 
E-Mail: ursula.damm [at] uni-weimar.de 
[http://www.ursuladamm.de ursuladamm.de] 
 
|

|
Artistic Associate 
'''[[GMU:Mindaugas Gapševičius|Mindaugas Gapševičius]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: mindaugas.gapsevicius [at] uni-weimar.de 
[http://www.triple-double-u.com triple-double-u.com] 
 
|}

Artistic Associate 
'''[[GMU:Alexander König|Alexander König]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
E-Mail: alexander.koenig [at] uni-weimar.de
[http://www.media-art-theory.com www.media-art-theory.com] 
 

Artistic Associate 
'''[[GMU:Isabella Lee Arturo|Isabella Lee Arturo]]''' 
Marienstraße 5, Raum 305 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: isabella.lee.arturo@uni-weimar.de isabella Lee Arturo[at] uni-weimar.de 
 
===[[GMU:Personen|other staff]]===

==SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses==
* [[GMU:Patterns|Patterns]] - Prof. Ursula Damm, Mindaugas Gapševičius
* [[GMU:Translating_the_Grid|Translating the Grid]] - Mindaugas Gapševičius, Felix Bonowski, Alessandro Volpato, partners from Lumina project
* [[GMU:Immersive Spaces (Part II): Art Installations with TouchDesigner]] - Isabella Lee Arturo
* [[GMU:Relational interactions|Relational interactions]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[GMU:Diy biolab drivers license SoSe26|Diy biolab drivers license SoSe26]] - Alessandro Volpato
* [[GMU:Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance]]- Isabella Lee Arturo
* [[GMU:Audiovisual Interaction in TouchDesigner|Audiovisual Interaction in TouchDesigner]] - Alexander König

== WS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Back-to-Ecosystems|Back to Ecosystems]] - Mindaugas Gapševičius, Isabella Lee Arturo, Bethan Hughes
* [[GMU:sensing-the-campus|Sensing the Campus]] - Christian Doeller
* [[GMU:Wetlands|Wetlands]] - Prof. Angeliki Poulou, Prof. Laura Beloff, Prof. Kerstin Ergenzinger, Prof. Ursula Damm, Dr. Mindaugas Gapševičius, Prof. Dimitris Charitos, Prof. Alexandros Kontogeorgakopoulos, Prof. Katerina Antonopoulou, Prof. Haris Rizopoulos, Felix Bonowski
* [[GMU:Relationship patterns in the environments|Relationship patterns in the environments]] (Beziehungsmuster in den Umwelten) - Dr. Klaus Herbst (Fritze)
* [[GMU:Diy biolab drivers license WiSe25|Diy biolab drivers license WiSe25]] - Alessandro Volpato
* [[GMU:Computer aided fabrication in the wilderness WiSe25|Computer aided fabrication in the wilderness]] - Felix Bonowski
* [[Immersive Spaces (Part I): Art Installations with TouchDesigner and more]] - Isabella Lee Arturo
* [[DataNatures]] - Verena Friedrich, Dr. Klaus Herbst (Fritze), Dr. Alexander König

== SS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Technosolutionism + Silicone Nightmares|Technosolutionism + Silicone Nightmares]] - Bethan Hughes
* [[GMU:Hallucinating computers and dreaming non-machines|Hallucinating computers and dreaming non-machines]] - Prof. Ursula Damm, Isabella Lee Arturo, Dr. Mindaugas Gapševičius
* [[GMU:Re-enchanting the field|Re-enchanting the field]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[Speech-to-text-to-Actions]] - Isabella Lee Arturo
* [[Aesthetics of Macroworlds - An interdisciplinary journey into microscopic worlds using Touchdesigner]] - Dr. Alexander König, Alessandro Volpato
* [[The dimensions of Language - The functioning of AI between theory, practice and criticism.]] - Dr. Alexander König
* [[Touchdesigner Basics]] - Dr. Alexander König, Belcim Yavuz
* [[GMU:postcompost-forest-reset|PostCompost – Forest Reset]] - Christian Doeller, Klaus Fritze/Herbst, Prof. Ursula Damm
* [[GMU:Computer-aided-fabrication-in-the-wilderness|Computer aided fabrication in the wilderness]] - Felix Bonowski

== WS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==

* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann) GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann)]
* [[GMU:Performing for Machines (Body Work in Cybernetic Systems) - Isabella Lee Arturo]]
* [[GMU:Exhibitionist! (how to do Art Exhibitions) - Isabella Lee Arturo]]
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:The_Plant_Plant GMU:The Plant Plant – Christian Doeller, Klaus Fritze]
* [[GMU:Life_in_an_aquatic_ecosystem|GMU:Life in an aquatic ecosystem]] - Mindaugas Gapševičius, Alessandro Volpato

== SS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Data as Artistic Material]] - Juliane Götz, Sebastian Neitsch (Künstlerduo Quadrature)
*[[GMU:Winning natural habitats]] - Mindaugas Gapševičius & Klaus Herbst
*[[GMU:Diy biolab drivers licence SoSe24|GMU:DIY BioLab Driver's license]] - Alessandro Volpato
*[[GMU:Growing microorganisms for bioart projects SoSe24|GMU:Growing microorganisms for bioart projects]] - Alessandro Volpato
*[[GMU:Embodiment Toolkit|GMU:Embodiment Toolkit]] - Christian Doeller

== WS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Beings and Machines]] - Prof. Ursula Damm
*[[GMU:Non-machines]] - Mindaugas Gapševičius
*[[GMU:Tired Machines Orchestra]] - Christian Doeller
*[[GMU:Making the Artist Present. Exploring Performative Practices]] - Martin Mueller (Bauhaus.Modul)
*[[GMU:Diy biolab drivers licence|GMU:DIY BioLab Driver's licence]] - Alessandro Volpato
*[[GMU:Design with Fungi]] - Alessandro Volpato
*GMU: LICHEN Workshop The Lichenlounge featuring Edible Lichen - Dr. Klaus Fritze
*GMU: LICHEN Expedition: Biodiversity in Thuringia Forest - Dr. Klaus Fritze and Dr. Jan Vondrak

== SS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU: Maps, Territories and Possibility Spaces]] - Prof. Ursula Damm
*[[GMU:Photosynthesis and I]] - Mindaugas Gapsevicius

== WS 2022 – Aktuelle Lehrveranstaltungen – Current Courses ==
===Projektmodule===
*[[GMU:Construction - Destruction|Construction - Destruction]] - Prof. Ursula Damm

{{GMU:Lehrveranstaltungen/SS23}}

== WS 2022/23 – Vergangene Lehrveranstaltungen – Previous Courses ==
{{GMU:Lehrveranstaltungen/WS22}}

== Lehrveranstaltungen (Archiv) – Previous Courses ==
{{GMU:Previous Semesters}}

== Equipment ==
* [[GMU:Equipment|GMU Equipment]] – ''Equipment for Students of the Media Environments (GMU)''
* [[Equipment|Mediapoint]] – ''Equipment for all Students of Media Art + Design''

== Inside GMU ==
* [[GMU:Mailinglist|GMU Mailingliste]] – ''sign up using the [http://listserv.uni-weimar.de/mailman/listinfo/gmu web-interface]
* [[GMU:Links|GMU Linklist]]

{{Template:Help}}

Immersive Spaces (Part II): Art Installations with TouchDesigner

2026-03-29T19:45:38Z

Miga: Miga moved page Immersive Spaces (Part II): Art Installations with TouchDesigner to GMU:Immersive Spaces (Part II): Art Installations with TouchDesigner

#REDIRECT [[GMU:Immersive Spaces (Part II): Art Installations with TouchDesigner]]

GMU:Immersive Spaces (Part II): Art Installations with TouchDesigner

2026-03-29T19:45:38Z

Miga: Miga moved page Immersive Spaces (Part II): Art Installations with TouchDesigner to GMU:Immersive Spaces (Part II): Art Installations with TouchDesigner

=== Course Description: ===
Werk-/Fachmodul - SWS 6

'''Information:'''

Time: SoSe 26, Mondays 13:30 - 16:40

Place: Bauhausstraße 9a - Gestalterisches Zentrum 001 (ground floor - DBL)

'''Mentor:'''

M.F.A. Isabella Lee Arturo

'''Office hours:'''

Tuesday in the morning and afternoon, by appointment.

Please email me to schedule a meeting time.

=== Course Description: ===
This course welcomes students with a basic knowledge of TouchDesigner(TD) who would like to apply it to create immersive and interactive art installations. The goal is to reach an intermediate level by developing and expanding your TD skills through creative practice.

We will take a hands-on approach, using the DBL (Digital Bauhaus Lab) as a sandbox for experimental audiovisual work.

This seminar follows a horizontal peer-learning model; therefore, active participation from all students and commitment are expected.

Your grade is based on three assignments: 1) In-Class Assignment 2) Midterm Assignment: research five (5) artist references that will inspire your art installation, and 3) Final Assignment: create an immersive and interactive art installation for the Summaery26 exhibition.

For the final assignment, you have the option to work in groups on a collaborative installation at the DBL, or alternatively, to work individually on a semester project developed within your Projektmodul.

=== syllabus: ===
{| class="wikitable"
|+
|Sessions
|Dates
|Events
|Assignments
|Notes
|-
|0
|06-04-2026
|
|
|
|-
|1
|13-04-2026
|Hello Activities / Intro Class
|
|
|-
|2
|20-04-2026
|Input Session
|
|Topic: Body tracking
|-
|3
|27-04-2026
|Hands-On Session
|
|Topic: Body tracking
|-
|4
|04-05-2026
|Input Session
|
|Topic: Speech to Text
|-
|5
|11-05-2026
|No Class
|Task: Organization for Summaery
|*Excursion to Leipzig (TBD) *No Date yet
|-
|6
|18-05-2026
|Hands-On Session
|Midterm Assigment: Artists Homework
|Topic: Speech to Text
|-
|7
|25-05-2026
|No Class
|Task: Ideas for Summmaery
|
|-
|8
|01-06-2026
|Input Session / Summaery Planning
|Task: Rent Equipment Asap
|Topic: Multiple screens
|-
|9
|08-06-2026
|Hands-On Session
|
|Topic: Multiple screens
|-
|10
|15-06-2026
|Input Session / Summaery Planning
|
|Topic: Ambisonics
|-
|11
|22-06-2026
|Hands-On Session
|
|Topic: Ambisonics
|-
|12
|29-06-2026
|Prep Summaery
|
|
|-
|13
|06-07-2026
|Summaery 2026
|Final Assigment
|
|}

=== Students List ===
[NAME][LAST NAME]

GMU:Start

2026-03-29T19:45:25Z

Miga: /* SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses */

This is the wiki of the Media Environments chair. For the public website please refer to https://www.uni-weimar.de/gmu

==Featured Projects==
{|cellpadding="2px" cellspacing="2px" border="0" style="margin:10px 10px 10px 0; font-size:0.8em; line-height: 1;"
|width="300px"|[[File:Markt-und-Maus-2.jpg|300px|plug and pray|link=GMU:BFA MFA Finals#Stefan Pach: Markt und Maus]]

[[GMU:BFA MFA Finals#Stefan Pach: Markt und Maus |Markt und Maus]] (Market and Mouse) [[Stefan Pach |Stefan Pach]]

How can we make mice live by the rules of investment banking?

To improve the understanding of the dynamics of finance markets the "Market and Mouse"-System tries to simulate a part of the fiscal universe. The main analysis focuses on the aspect of investment banking. This is the field with the biggest possible profit. "Market and Mouse" investigates how mice decide if they have to choose between high risk but high value options and less lucrative possibilities.
 
 

|width="26px"|
|width="300px"|[[File:Brume1.jpg|300px|Brume|link=GMU:BFA MFA Finals#Sebastian Wolf .26 Michael Kugler: Brume]]

[http://einsdreidrei.com/Brume Brume] by [[Sebastian Wolf]] & Michael Kugler

In 'Brume', the artist duo Michael Kugler and Sebastian Wolf investigate immateriality by coaxing fog into a semi-geometrical, self-organizing form. The viewer becomes a catalyst for disturbance, generating turbulences that not only illustrate the carrying power of the air, but upset a perceived equilibrium, and reveal the spatial and temporal volatility of such a phenomenon. 'Brume' operates in the margins between ubiquity and the finite, symmetry and the amorphous, transience and permanence, and gesturing at the paradox of immateriality.
|-

|width="300px"|[[File:super-boxen front.jpg|Synbio|link=GMU:Synthetic Biology]]
|width="26px"|
|width="300px"|[[File:Plug and pray.png|300px|plug and pray|link=Mental Radio Arbeiten#Jörg Brinkmann: plug and pray]]

|-
|Super Cell is a fictional supermarket website offering speculative products related to Synthetic Biology and our project for iGEM 2010. [[GMU:Synthetic Biology|Super Cell]]
|
|„You shall not make for yourself an idol...“

...just google it.

plug & pray is an interactive artwork that allows believers to pray through their computer. plug & pray makes the search for God easier, with the help of the internet. plug & pray works as if you were praying. Believers use the pray device that activates a google image search for the word „God“ on the act of praying. plug & pray believers see the results of their prayers as spiritualized video, projected before their very eyes. [[Mental Radio Arbeiten#Jörg Brinkmann: plug and pray|Jörg Brinkmann: plug and pray]]
|}

Check out our archives with [[GMU:Works|student works]] and [[GMU:BFA MFA Finals|thesis works]] of BFA and MFA graduates.
 

== Research and Teaching Faculty ==
{|cellpadding="5"
|+
|-
|
Professor '''[[GMU:Ursula_Damm|Ursula Damm]]''' 
Marienstraße 5, Raum 304 
99423 Weimar 
Telefon:. +49 3643 / 58-3607 
E-Mail: ursula.damm [at] uni-weimar.de 
[http://www.ursuladamm.de ursuladamm.de] 
 
|

|
Artistic Associate 
'''[[GMU:Mindaugas Gapševičius|Mindaugas Gapševičius]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: mindaugas.gapsevicius [at] uni-weimar.de 
[http://www.triple-double-u.com triple-double-u.com] 
 
|}

Artistic Associate 
'''[[GMU:Alexander König|Alexander König]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
E-Mail: alexander.koenig [at] uni-weimar.de
[http://www.media-art-theory.com www.media-art-theory.com] 
 

Artistic Associate 
'''[[GMU:Isabella Lee Arturo|Isabella Lee Arturo]]''' 
Marienstraße 5, Raum 305 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: isabella.lee.arturo@uni-weimar.de isabella Lee Arturo[at] uni-weimar.de 
 
===[[GMU:Personen|other staff]]===

==SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses==
* [[GMU:Patterns|Patterns]] - Prof. Ursula Damm, Mindaugas Gapševičius
* [[GMU:Translating_the_Grid|Translating the Grid]] - Mindaugas Gapševičius, Felix Bonowski, Alessandro Volpato, partners from Lumina project
* [[Immersive Spaces (Part II): Art Installations with TouchDesigner]] - Isabella Lee Arturo
* [[GMU:Relational interactions|Relational interactions]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[GMU:Diy biolab drivers license SoSe26|Diy biolab drivers license SoSe26]] - Alessandro Volpato
* [[GMU:Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance]]- Isabella Lee Arturo
* [[GMU:Audiovisual Interaction in TouchDesigner|Audiovisual Interaction in TouchDesigner]] - Alexander König

== WS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Back-to-Ecosystems|Back to Ecosystems]] - Mindaugas Gapševičius, Isabella Lee Arturo, Bethan Hughes
* [[GMU:sensing-the-campus|Sensing the Campus]] - Christian Doeller
* [[GMU:Wetlands|Wetlands]] - Prof. Angeliki Poulou, Prof. Laura Beloff, Prof. Kerstin Ergenzinger, Prof. Ursula Damm, Dr. Mindaugas Gapševičius, Prof. Dimitris Charitos, Prof. Alexandros Kontogeorgakopoulos, Prof. Katerina Antonopoulou, Prof. Haris Rizopoulos, Felix Bonowski
* [[GMU:Relationship patterns in the environments|Relationship patterns in the environments]] (Beziehungsmuster in den Umwelten) - Dr. Klaus Herbst (Fritze)
* [[GMU:Diy biolab drivers license WiSe25|Diy biolab drivers license WiSe25]] - Alessandro Volpato
* [[GMU:Computer aided fabrication in the wilderness WiSe25|Computer aided fabrication in the wilderness]] - Felix Bonowski
* [[Immersive Spaces (Part I): Art Installations with TouchDesigner and more]] - Isabella Lee Arturo
* [[DataNatures]] - Verena Friedrich, Dr. Klaus Herbst (Fritze), Dr. Alexander König

== SS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Technosolutionism + Silicone Nightmares|Technosolutionism + Silicone Nightmares]] - Bethan Hughes
* [[GMU:Hallucinating computers and dreaming non-machines|Hallucinating computers and dreaming non-machines]] - Prof. Ursula Damm, Isabella Lee Arturo, Dr. Mindaugas Gapševičius
* [[GMU:Re-enchanting the field|Re-enchanting the field]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[Speech-to-text-to-Actions]] - Isabella Lee Arturo
* [[Aesthetics of Macroworlds - An interdisciplinary journey into microscopic worlds using Touchdesigner]] - Dr. Alexander König, Alessandro Volpato
* [[The dimensions of Language - The functioning of AI between theory, practice and criticism.]] - Dr. Alexander König
* [[Touchdesigner Basics]] - Dr. Alexander König, Belcim Yavuz
* [[GMU:postcompost-forest-reset|PostCompost – Forest Reset]] - Christian Doeller, Klaus Fritze/Herbst, Prof. Ursula Damm
* [[GMU:Computer-aided-fabrication-in-the-wilderness|Computer aided fabrication in the wilderness]] - Felix Bonowski

== WS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==

* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann) GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann)]
* [[GMU:Performing for Machines (Body Work in Cybernetic Systems) - Isabella Lee Arturo]]
* [[GMU:Exhibitionist! (how to do Art Exhibitions) - Isabella Lee Arturo]]
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:The_Plant_Plant GMU:The Plant Plant – Christian Doeller, Klaus Fritze]
* [[GMU:Life_in_an_aquatic_ecosystem|GMU:Life in an aquatic ecosystem]] - Mindaugas Gapševičius, Alessandro Volpato

== SS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Data as Artistic Material]] - Juliane Götz, Sebastian Neitsch (Künstlerduo Quadrature)
*[[GMU:Winning natural habitats]] - Mindaugas Gapševičius & Klaus Herbst
*[[GMU:Diy biolab drivers licence SoSe24|GMU:DIY BioLab Driver's license]] - Alessandro Volpato
*[[GMU:Growing microorganisms for bioart projects SoSe24|GMU:Growing microorganisms for bioart projects]] - Alessandro Volpato
*[[GMU:Embodiment Toolkit|GMU:Embodiment Toolkit]] - Christian Doeller

== WS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Beings and Machines]] - Prof. Ursula Damm
*[[GMU:Non-machines]] - Mindaugas Gapševičius
*[[GMU:Tired Machines Orchestra]] - Christian Doeller
*[[GMU:Making the Artist Present. Exploring Performative Practices]] - Martin Mueller (Bauhaus.Modul)
*[[GMU:Diy biolab drivers licence|GMU:DIY BioLab Driver's licence]] - Alessandro Volpato
*[[GMU:Design with Fungi]] - Alessandro Volpato
*GMU: LICHEN Workshop The Lichenlounge featuring Edible Lichen - Dr. Klaus Fritze
*GMU: LICHEN Expedition: Biodiversity in Thuringia Forest - Dr. Klaus Fritze and Dr. Jan Vondrak

== SS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU: Maps, Territories and Possibility Spaces]] - Prof. Ursula Damm
*[[GMU:Photosynthesis and I]] - Mindaugas Gapsevicius

== WS 2022 – Aktuelle Lehrveranstaltungen – Current Courses ==
===Projektmodule===
*[[GMU:Construction - Destruction|Construction - Destruction]] - Prof. Ursula Damm

{{GMU:Lehrveranstaltungen/SS23}}

== WS 2022/23 – Vergangene Lehrveranstaltungen – Previous Courses ==
{{GMU:Lehrveranstaltungen/WS22}}

== Lehrveranstaltungen (Archiv) – Previous Courses ==
{{GMU:Previous Semesters}}

== Equipment ==
* [[GMU:Equipment|GMU Equipment]] – ''Equipment for Students of the Media Environments (GMU)''
* [[Equipment|Mediapoint]] – ''Equipment for all Students of Media Art + Design''

== Inside GMU ==
* [[GMU:Mailinglist|GMU Mailingliste]] – ''sign up using the [http://listserv.uni-weimar.de/mailman/listinfo/gmu web-interface]
* [[GMU:Links|GMU Linklist]]

{{Template:Help}}

GMU:Audiovisual Interaction in TouchDesigner

2026-03-29T19:44:29Z

Miga: /* AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture */

==German version, for English, see below==
Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen.

Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen vernetzte, räumliche und interaktive Medienumgebungen? Wie lassen sich unterschiedliche Technologien – Videoprojektion, Multichannel-Audio mit Dante, Ambisonics, Sensorik, Mikroskopie und Sonifikation – sinnvoll kombinieren?

Das Seminar arbeitet mit der Infrastruktur des Digital Bauhaus Lab und bezieht weitere Räume der Universität ein, etwa das Hybride Lernatelier. Ziel ist es, technische Grundlagen mit räumlichem Denken und konzeptioneller Entwicklung zu verbinden und eigenständige Nutzungsszenarien für vernetzte Medienräume zu entwerfen.

Gastvorträge aus den Sounddepartments sowie eingeladene Künstlerinnen und Künstler ergänzen die praktische Arbeit um Einblicke in aktuelle künstlerische Praxis.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Dieses Seminar öffnet die Black Box der KI – nicht, um sie zu mystifizieren, sondern um sie verständlich zu machen. Wir beginnen mit einer zugänglichen Einführung in die Grundlagen von Machine Learning: Was bedeuten „Daten“, „Modelle“, „Training“ und „Vorhersage“ tatsächlich? Ziel ist es, technische Funktionsweisen von Marketing-Narrativen zu trennen – und KI weder zu dämonisieren noch zu verklären.

Im zweiten Teil verschieben wir den Blick auf die gesellschaftliche Dimension von Technik. Mit Gilbert Simondon verstehen wir Technik als etwas Offenes: Sie entsteht im Zusammenspiel mit sozialen und kulturellen Umgebungen. Technische Systeme sind keine abgeschlossenen Black Boxes, sondern relationale Gefüge, die sich weiterentwickeln.

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

==English version, for German, see above==
At the core of the seminar are the fundamental principles of TouchDesigner as a real-time environment for audiovisual systems. The course conveys not only software-specific workflows, but also transferable concepts: node-based logics, signal flow, data mapping, network structures, and performative control—applicable to other environments as well.

The focus lies on the design of digital environments: How do networked, spatial, and interactive media environments emerge? How can different technologies—video projection, multichannel audio with Dante, ambisonics, sensing, microscopy, and sonification—be meaningfully combined?

The seminar works with the infrastructure of the Digital Bauhaus Lab and incorporates additional university spaces, such as the Hybrid Learning Studio. The aim is to connect technical foundations with spatial thinking and conceptual development, and to design independent usage scenarios for networked media environments.

Guest lectures from the sound departments, as well as invited artists, complement the practical work with insights into current artistic practice.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===
This seminar opens the black box of AI—not to mystify it, but to make it understandable. We begin with an accessible introduction to the fundamentals of machine learning: what do “data,” “models,” “training,” and “prediction” actually mean? The aim is to separate technical mechanisms from marketing narratives—and to neither demonize nor glorify AI.

In the second part, we shift the focus to the societal dimension of technology. With Gilbert Simondon, we understand technology as something open: it emerges through its interaction with social and cultural environments. Technical systems are not closed black boxes, but relational assemblages that continue to evolve.

In parallel, we consider Theodor W. Adorno’s critique of the culture industry: culture and technology become standardized, economically organized, and optimized for efficiency. Difference is smoothed out, subjectivity formatted. In today’s platform economy, this logic manifests algorithmically: AI becomes a monopolistic form of power when models, data, and infrastructures are concentrated in the hands of a few corporations. The problem is not the technology itself, but its concentration within hegemonic structures.

The seminar moves between these two positions:
AI exists in a field of tension between open, shapeable technology (Simondon) and a standardized, monopolistically organized culture industry (Adorno). It is precisely within this tension that technology becomes political.

As a counterpoint, we examine artistic and subcultural practices that emerge deliberately outside of normalized systems—where art is not standardized, but risked. Figures such as Maya Deren, Kenneth Anger, and Peter Brötzmann demonstrate how aesthetic forms arise from margins, countercultures, and experimental milieus. Here, technology is not made efficient, but disrupted, defamiliarized, and reappropriated.

Subculture thus functions as a counter-model to the culture industry: a space in which difference remains possible—and in which AI can be conceived not as a monopolistic infrastructure, but as artistic material and a political tool.

GMU:Audiovisual Interaction in TouchDesigner

2026-03-29T19:43:34Z

Miga: /* AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture */

==German version, for English, see below==
Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen.

Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen vernetzte, räumliche und interaktive Medienumgebungen? Wie lassen sich unterschiedliche Technologien – Videoprojektion, Multichannel-Audio mit Dante, Ambisonics, Sensorik, Mikroskopie und Sonifikation – sinnvoll kombinieren?

Das Seminar arbeitet mit der Infrastruktur des Digital Bauhaus Lab und bezieht weitere Räume der Universität ein, etwa das Hybride Lernatelier. Ziel ist es, technische Grundlagen mit räumlichem Denken und konzeptioneller Entwicklung zu verbinden und eigenständige Nutzungsszenarien für vernetzte Medienräume zu entwerfen.

Gastvorträge aus den Sounddepartments sowie eingeladene Künstlerinnen und Künstler ergänzen die praktische Arbeit um Einblicke in aktuelle künstlerische Praxis.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Dieses Seminar öffnet die Black Box der KI – nicht, um sie zu mystifizieren, sondern um sie verständlich zu machen. Wir beginnen mit einer zugänglichen Einführung in die Grundlagen von Machine Learning: Was bedeuten „Daten“, „Modelle“, „Training“ und „Vorhersage“ tatsächlich? Ziel ist es, technische Funktionsweisen von Marketing-Narrativen zu trennen – und KI weder zu dämonisieren noch zu verklären.

Im zweiten Teil verschieben wir den Blick auf die gesellschaftliche Dimension von Technik. Mit Gilbert Simondon verstehen wir Technik als etwas Offenes: Sie entsteht im Zusammenspiel mit sozialen und kulturellen Umgebungen. Technische Systeme sind keine abgeschlossenen Black Boxes, sondern relationale Gefüge, die sich weiterentwickeln.

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

==English version, for German, see above==
At the core of the seminar are the fundamental principles of TouchDesigner as a real-time environment for audiovisual systems. The course conveys not only software-specific workflows, but also transferable concepts: node-based logics, signal flow, data mapping, network structures, and performative control—applicable to other environments as well.

The focus lies on the design of digital environments: How do networked, spatial, and interactive media environments emerge? How can different technologies—video projection, multichannel audio with Dante, ambisonics, sensing, microscopy, and sonification—be meaningfully combined?

The seminar works with the infrastructure of the Digital Bauhaus Lab and incorporates additional university spaces, such as the Hybrid Learning Studio. The aim is to connect technical foundations with spatial thinking and conceptual development, and to design independent usage scenarios for networked media environments.

Guest lectures from the sound departments, as well as invited artists, complement the practical work with insights into current artistic practice.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

This seminar opens the black box of AI—not to mystify it, but to make it understandable. We begin with an accessible introduction to the fundamentals of machine learning: what do “data,” “models,” “training,” and “prediction” actually mean? The aim is to separate technical mechanisms from marketing narratives—and to neither demonize nor glorify AI.

In the second part, we shift the focus to the societal dimension of technology. With Gilbert Simondon, we understand technology as something open: it emerges through its interaction with social and cultural environments. Technical systems are not closed black boxes, but relational assemblages that continue to evolve.

In parallel, we consider Theodor W. Adorno’s critique of the culture industry: culture and technology become standardized, economically organized, and optimized for efficiency. Difference is smoothed out, subjectivity formatted. In today’s platform economy, this logic manifests algorithmically: AI becomes a monopolistic form of power when models, data, and infrastructures are concentrated in the hands of a few corporations. The problem is not the technology itself, but its concentration within hegemonic structures.

The seminar moves between these two positions:
AI exists in a field of tension between open, shapeable technology (Simondon) and a standardized, monopolistically organized culture industry (Adorno). It is precisely within this tension that technology becomes political.

As a counterpoint, we examine artistic and subcultural practices that emerge deliberately outside of normalized systems—where art is not standardized, but risked. Figures such as Maya Deren, Kenneth Anger, and Peter Brötzmann demonstrate how aesthetic forms arise from margins, countercultures, and experimental milieus. Here, technology is not made efficient, but disrupted, defamiliarized, and reappropriated.

Subculture thus functions as a counter-model to the culture industry: a space in which difference remains possible—and in which AI can be conceived not as a monopolistic infrastructure, but as artistic material and a political tool.

GMU:Audiovisual Interaction in TouchDesigner

2026-03-29T19:41:56Z

Miga: /* English version, for German, see above */

==German version, for English, see below==
Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen.

Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen vernetzte, räumliche und interaktive Medienumgebungen? Wie lassen sich unterschiedliche Technologien – Videoprojektion, Multichannel-Audio mit Dante, Ambisonics, Sensorik, Mikroskopie und Sonifikation – sinnvoll kombinieren?

Das Seminar arbeitet mit der Infrastruktur des Digital Bauhaus Lab und bezieht weitere Räume der Universität ein, etwa das Hybride Lernatelier. Ziel ist es, technische Grundlagen mit räumlichem Denken und konzeptioneller Entwicklung zu verbinden und eigenständige Nutzungsszenarien für vernetzte Medienräume zu entwerfen.

Gastvorträge aus den Sounddepartments sowie eingeladene Künstlerinnen und Künstler ergänzen die praktische Arbeit um Einblicke in aktuelle künstlerische Praxis.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Dieses Seminar öffnet die Black Box der KI – nicht, um sie zu mystifizieren, sondern um sie verständlich zu machen. Wir beginnen mit einer zugänglichen Einführung in die Grundlagen von Machine Learning: Was bedeuten „Daten“, „Modelle“, „Training“ und „Vorhersage“ tatsächlich? Ziel ist es, technische Funktionsweisen von Marketing-Narrativen zu trennen – und KI weder zu dämonisieren noch zu verklären.

Im zweiten Teil verschieben wir den Blick auf die gesellschaftliche Dimension von Technik. Mit Gilbert Simondon verstehen wir Technik als etwas Offenes: Sie entsteht im Zusammenspiel mit sozialen und kulturellen Umgebungen. Technische Systeme sind keine abgeschlossenen Black Boxes, sondern relationale Gefüge, die sich weiterentwickeln.

==English version, for German, see above==
At the core of the seminar are the fundamental principles of TouchDesigner as a real-time environment for audiovisual systems. The course conveys not only software-specific workflows, but also transferable concepts: node-based logics, signal flow, data mapping, network structures, and performative control—applicable to other environments as well.

The focus lies on the design of digital environments: How do networked, spatial, and interactive media environments emerge? How can different technologies—video projection, multichannel audio with Dante, ambisonics, sensing, microscopy, and sonification—be meaningfully combined?

The seminar works with the infrastructure of the Digital Bauhaus Lab and incorporates additional university spaces, such as the Hybrid Learning Studio. The aim is to connect technical foundations with spatial thinking and conceptual development, and to design independent usage scenarios for networked media environments.

Guest lectures from the sound departments, as well as invited artists, complement the practical work with insights into current artistic practice.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

This seminar opens the black box of AI—not to mystify it, but to make it understandable. We begin with an accessible introduction to the fundamentals of machine learning: what do “data,” “models,” “training,” and “prediction” actually mean? The aim is to separate technical mechanisms from marketing narratives—and to neither demonize nor glorify AI.

In the second part, we shift the focus to the societal dimension of technology. With Gilbert Simondon, we understand technology as something open: it emerges through its interaction with social and cultural environments. Technical systems are not closed black boxes, but relational assemblages that continue to evolve.

In parallel, we consider Theodor W. Adorno’s critique of the culture industry: culture and technology become standardized, economically organized, and optimized for efficiency. Difference is smoothed out, subjectivity formatted. In today’s platform economy, this logic manifests algorithmically: AI becomes a monopolistic form of power when models, data, and infrastructures are concentrated in the hands of a few corporations. The problem is not the technology itself, but its concentration within hegemonic structures.

The seminar moves between these two positions:
AI exists in a field of tension between open, shapeable technology (Simondon) and a standardized, monopolistically organized culture industry (Adorno). It is precisely within this tension that technology becomes political.

As a counterpoint, we examine artistic and subcultural practices that emerge deliberately outside of normalized systems—where art is not standardized, but risked. Figures such as Maya Deren, Kenneth Anger, and Peter Brötzmann demonstrate how aesthetic forms arise from margins, countercultures, and experimental milieus. Here, technology is not made efficient, but disrupted, defamiliarized, and reappropriated.

Subculture thus functions as a counter-model to the culture industry: a space in which difference remains possible—and in which AI can be conceived not as a monopolistic infrastructure, but as artistic material and a political tool.

GMU:Audiovisual Interaction in TouchDesigner

2026-03-29T19:41:46Z

Miga: /* German version, for English, see below */

==German version, for English, see below==
Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen.

Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen vernetzte, räumliche und interaktive Medienumgebungen? Wie lassen sich unterschiedliche Technologien – Videoprojektion, Multichannel-Audio mit Dante, Ambisonics, Sensorik, Mikroskopie und Sonifikation – sinnvoll kombinieren?

Das Seminar arbeitet mit der Infrastruktur des Digital Bauhaus Lab und bezieht weitere Räume der Universität ein, etwa das Hybride Lernatelier. Ziel ist es, technische Grundlagen mit räumlichem Denken und konzeptioneller Entwicklung zu verbinden und eigenständige Nutzungsszenarien für vernetzte Medienräume zu entwerfen.

Gastvorträge aus den Sounddepartments sowie eingeladene Künstlerinnen und Künstler ergänzen die praktische Arbeit um Einblicke in aktuelle künstlerische Praxis.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Dieses Seminar öffnet die Black Box der KI – nicht, um sie zu mystifizieren, sondern um sie verständlich zu machen. Wir beginnen mit einer zugänglichen Einführung in die Grundlagen von Machine Learning: Was bedeuten „Daten“, „Modelle“, „Training“ und „Vorhersage“ tatsächlich? Ziel ist es, technische Funktionsweisen von Marketing-Narrativen zu trennen – und KI weder zu dämonisieren noch zu verklären.

Im zweiten Teil verschieben wir den Blick auf die gesellschaftliche Dimension von Technik. Mit Gilbert Simondon verstehen wir Technik als etwas Offenes: Sie entsteht im Zusammenspiel mit sozialen und kulturellen Umgebungen. Technische Systeme sind keine abgeschlossenen Black Boxes, sondern relationale Gefüge, die sich weiterentwickeln.

===English version, for German, see above===
At the core of the seminar are the fundamental principles of TouchDesigner as a real-time environment for audiovisual systems. The course conveys not only software-specific workflows, but also transferable concepts: node-based logics, signal flow, data mapping, network structures, and performative control—applicable to other environments as well.

The focus lies on the design of digital environments: How do networked, spatial, and interactive media environments emerge? How can different technologies—video projection, multichannel audio with Dante, ambisonics, sensing, microscopy, and sonification—be meaningfully combined?

The seminar works with the infrastructure of the Digital Bauhaus Lab and incorporates additional university spaces, such as the Hybrid Learning Studio. The aim is to connect technical foundations with spatial thinking and conceptual development, and to design independent usage scenarios for networked media environments.

Guest lectures from the sound departments, as well as invited artists, complement the practical work with insights into current artistic practice.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

This seminar opens the black box of AI—not to mystify it, but to make it understandable. We begin with an accessible introduction to the fundamentals of machine learning: what do “data,” “models,” “training,” and “prediction” actually mean? The aim is to separate technical mechanisms from marketing narratives—and to neither demonize nor glorify AI.

In the second part, we shift the focus to the societal dimension of technology. With Gilbert Simondon, we understand technology as something open: it emerges through its interaction with social and cultural environments. Technical systems are not closed black boxes, but relational assemblages that continue to evolve.

In parallel, we consider Theodor W. Adorno’s critique of the culture industry: culture and technology become standardized, economically organized, and optimized for efficiency. Difference is smoothed out, subjectivity formatted. In today’s platform economy, this logic manifests algorithmically: AI becomes a monopolistic form of power when models, data, and infrastructures are concentrated in the hands of a few corporations. The problem is not the technology itself, but its concentration within hegemonic structures.

The seminar moves between these two positions:
AI exists in a field of tension between open, shapeable technology (Simondon) and a standardized, monopolistically organized culture industry (Adorno). It is precisely within this tension that technology becomes political.

As a counterpoint, we examine artistic and subcultural practices that emerge deliberately outside of normalized systems—where art is not standardized, but risked. Figures such as Maya Deren, Kenneth Anger, and Peter Brötzmann demonstrate how aesthetic forms arise from margins, countercultures, and experimental milieus. Here, technology is not made efficient, but disrupted, defamiliarized, and reappropriated.

Subculture thus functions as a counter-model to the culture industry: a space in which difference remains possible—and in which AI can be conceived not as a monopolistic infrastructure, but as artistic material and a political tool.

GMU:Audiovisual Interaction in TouchDesigner

2026-03-29T19:41:34Z

Miga: /* English version, for German, see above */

===German version, for English, see below===
Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen.

Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen vernetzte, räumliche und interaktive Medienumgebungen? Wie lassen sich unterschiedliche Technologien – Videoprojektion, Multichannel-Audio mit Dante, Ambisonics, Sensorik, Mikroskopie und Sonifikation – sinnvoll kombinieren?

Das Seminar arbeitet mit der Infrastruktur des Digital Bauhaus Lab und bezieht weitere Räume der Universität ein, etwa das Hybride Lernatelier. Ziel ist es, technische Grundlagen mit räumlichem Denken und konzeptioneller Entwicklung zu verbinden und eigenständige Nutzungsszenarien für vernetzte Medienräume zu entwerfen.

Gastvorträge aus den Sounddepartments sowie eingeladene Künstlerinnen und Künstler ergänzen die praktische Arbeit um Einblicke in aktuelle künstlerische Praxis.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Dieses Seminar öffnet die Black Box der KI – nicht, um sie zu mystifizieren, sondern um sie verständlich zu machen. Wir beginnen mit einer zugänglichen Einführung in die Grundlagen von Machine Learning: Was bedeuten „Daten“, „Modelle“, „Training“ und „Vorhersage“ tatsächlich? Ziel ist es, technische Funktionsweisen von Marketing-Narrativen zu trennen – und KI weder zu dämonisieren noch zu verklären.

Im zweiten Teil verschieben wir den Blick auf die gesellschaftliche Dimension von Technik. Mit Gilbert Simondon verstehen wir Technik als etwas Offenes: Sie entsteht im Zusammenspiel mit sozialen und kulturellen Umgebungen. Technische Systeme sind keine abgeschlossenen Black Boxes, sondern relationale Gefüge, die sich weiterentwickeln.

===English version, for German, see above===
At the core of the seminar are the fundamental principles of TouchDesigner as a real-time environment for audiovisual systems. The course conveys not only software-specific workflows, but also transferable concepts: node-based logics, signal flow, data mapping, network structures, and performative control—applicable to other environments as well.

The focus lies on the design of digital environments: How do networked, spatial, and interactive media environments emerge? How can different technologies—video projection, multichannel audio with Dante, ambisonics, sensing, microscopy, and sonification—be meaningfully combined?

The seminar works with the infrastructure of the Digital Bauhaus Lab and incorporates additional university spaces, such as the Hybrid Learning Studio. The aim is to connect technical foundations with spatial thinking and conceptual development, and to design independent usage scenarios for networked media environments.

Guest lectures from the sound departments, as well as invited artists, complement the practical work with insights into current artistic practice.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

This seminar opens the black box of AI—not to mystify it, but to make it understandable. We begin with an accessible introduction to the fundamentals of machine learning: what do “data,” “models,” “training,” and “prediction” actually mean? The aim is to separate technical mechanisms from marketing narratives—and to neither demonize nor glorify AI.

In the second part, we shift the focus to the societal dimension of technology. With Gilbert Simondon, we understand technology as something open: it emerges through its interaction with social and cultural environments. Technical systems are not closed black boxes, but relational assemblages that continue to evolve.

In parallel, we consider Theodor W. Adorno’s critique of the culture industry: culture and technology become standardized, economically organized, and optimized for efficiency. Difference is smoothed out, subjectivity formatted. In today’s platform economy, this logic manifests algorithmically: AI becomes a monopolistic form of power when models, data, and infrastructures are concentrated in the hands of a few corporations. The problem is not the technology itself, but its concentration within hegemonic structures.

The seminar moves between these two positions:
AI exists in a field of tension between open, shapeable technology (Simondon) and a standardized, monopolistically organized culture industry (Adorno). It is precisely within this tension that technology becomes political.

As a counterpoint, we examine artistic and subcultural practices that emerge deliberately outside of normalized systems—where art is not standardized, but risked. Figures such as Maya Deren, Kenneth Anger, and Peter Brötzmann demonstrate how aesthetic forms arise from margins, countercultures, and experimental milieus. Here, technology is not made efficient, but disrupted, defamiliarized, and reappropriated.

Subculture thus functions as a counter-model to the culture industry: a space in which difference remains possible—and in which AI can be conceived not as a monopolistic infrastructure, but as artistic material and a political tool.

GMU:Audiovisual Interaction in TouchDesigner

2026-03-29T19:41:21Z

Miga: /* AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture */

===German version, for English, see below===
Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen.

Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen vernetzte, räumliche und interaktive Medienumgebungen? Wie lassen sich unterschiedliche Technologien – Videoprojektion, Multichannel-Audio mit Dante, Ambisonics, Sensorik, Mikroskopie und Sonifikation – sinnvoll kombinieren?

Das Seminar arbeitet mit der Infrastruktur des Digital Bauhaus Lab und bezieht weitere Räume der Universität ein, etwa das Hybride Lernatelier. Ziel ist es, technische Grundlagen mit räumlichem Denken und konzeptioneller Entwicklung zu verbinden und eigenständige Nutzungsszenarien für vernetzte Medienräume zu entwerfen.

Gastvorträge aus den Sounddepartments sowie eingeladene Künstlerinnen und Künstler ergänzen die praktische Arbeit um Einblicke in aktuelle künstlerische Praxis.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Dieses Seminar öffnet die Black Box der KI – nicht, um sie zu mystifizieren, sondern um sie verständlich zu machen. Wir beginnen mit einer zugänglichen Einführung in die Grundlagen von Machine Learning: Was bedeuten „Daten“, „Modelle“, „Training“ und „Vorhersage“ tatsächlich? Ziel ist es, technische Funktionsweisen von Marketing-Narrativen zu trennen – und KI weder zu dämonisieren noch zu verklären.

Im zweiten Teil verschieben wir den Blick auf die gesellschaftliche Dimension von Technik. Mit Gilbert Simondon verstehen wir Technik als etwas Offenes: Sie entsteht im Zusammenspiel mit sozialen und kulturellen Umgebungen. Technische Systeme sind keine abgeschlossenen Black Boxes, sondern relationale Gefüge, die sich weiterentwickeln.

===English version, for German, see above===
The focus lies on the design of digital environments: How do networked, spatial, and interactive media environments emerge? How can different technologies—video projection, multichannel audio with Dante, ambisonics, sensing, microscopy, and sonification—be meaningfully combined?

The seminar works with the infrastructure of the Digital Bauhaus Lab and incorporates additional university spaces, such as the Hybrid Learning Studio. The aim is to connect technical foundations with spatial thinking and conceptual development, and to design independent usage scenarios for networked media environments.

Guest lectures from the sound departments, as well as invited artists, complement the practical work with insights into current artistic practice.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

This seminar opens the black box of AI—not to mystify it, but to make it understandable. We begin with an accessible introduction to the fundamentals of machine learning: what do “data,” “models,” “training,” and “prediction” actually mean? The aim is to separate technical mechanisms from marketing narratives—and to neither demonize nor glorify AI.

In the second part, we shift the focus to the societal dimension of technology. With Gilbert Simondon, we understand technology as something open: it emerges through its interaction with social and cultural environments. Technical systems are not closed black boxes, but relational assemblages that continue to evolve.

In parallel, we consider Theodor W. Adorno’s critique of the culture industry: culture and technology become standardized, economically organized, and optimized for efficiency. Difference is smoothed out, subjectivity formatted. In today’s platform economy, this logic manifests algorithmically: AI becomes a monopolistic form of power when models, data, and infrastructures are concentrated in the hands of a few corporations. The problem is not the technology itself, but its concentration within hegemonic structures.

The seminar moves between these two positions:
AI exists in a field of tension between open, shapeable technology (Simondon) and a standardized, monopolistically organized culture industry (Adorno). It is precisely within this tension that technology becomes political.

As a counterpoint, we examine artistic and subcultural practices that emerge deliberately outside of normalized systems—where art is not standardized, but risked. Figures such as Maya Deren, Kenneth Anger, and Peter Brötzmann demonstrate how aesthetic forms arise from margins, countercultures, and experimental milieus. Here, technology is not made efficient, but disrupted, defamiliarized, and reappropriated.

Subculture thus functions as a counter-model to the culture industry: a space in which difference remains possible—and in which AI can be conceived not as a monopolistic infrastructure, but as artistic material and a political tool.

GMU:Audiovisual Interaction in TouchDesigner

2026-03-29T19:40:44Z

Miga: Created page with "===German version, for English, see below=== Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen. Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen..."

===German version, for English, see below===
Im Zentrum des Seminars stehen die Grundprinzipien von TouchDesigner als Echtzeit-Umgebung für audiovisuelle Systeme. Vermittelt werden nicht nur software-spezifische Workflows, sondern übertragbare Konzepte: node-basierte Logiken, Signalfluss, Datenmapping, Netzwerkstrukturen und performative Steuerung – anwendbar auch auf andere Umgebungen.

Der Fokus liegt dabei auf der Konzeption digitaler Environments: Wie entstehen vernetzte, räumliche und interaktive Medienumgebungen? Wie lassen sich unterschiedliche Technologien – Videoprojektion, Multichannel-Audio mit Dante, Ambisonics, Sensorik, Mikroskopie und Sonifikation – sinnvoll kombinieren?

Das Seminar arbeitet mit der Infrastruktur des Digital Bauhaus Lab und bezieht weitere Räume der Universität ein, etwa das Hybride Lernatelier. Ziel ist es, technische Grundlagen mit räumlichem Denken und konzeptioneller Entwicklung zu verbinden und eigenständige Nutzungsszenarien für vernetzte Medienräume zu entwerfen.

Gastvorträge aus den Sounddepartments sowie eingeladene Künstlerinnen und Künstler ergänzen die praktische Arbeit um Einblicke in aktuelle künstlerische Praxis.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Dieses Seminar öffnet die Black Box der KI – nicht, um sie zu mystifizieren, sondern um sie verständlich zu machen. Wir beginnen mit einer zugänglichen Einführung in die Grundlagen von Machine Learning: Was bedeuten „Daten“, „Modelle“, „Training“ und „Vorhersage“ tatsächlich? Ziel ist es, technische Funktionsweisen von Marketing-Narrativen zu trennen – und KI weder zu dämonisieren noch zu verklären.

Im zweiten Teil verschieben wir den Blick auf die gesellschaftliche Dimension von Technik. Mit Gilbert Simondon verstehen wir Technik als etwas Offenes: Sie entsteht im Zusammenspiel mit sozialen und kulturellen Umgebungen. Technische Systeme sind keine abgeschlossenen Black Boxes, sondern relationale Gefüge, die sich weiterentwickeln.

At the core of the seminar are the fundamental principles of TouchDesigner as a real-time environment for audiovisual systems. The course conveys not only software-specific workflows, but also transferable concepts: node-based logics, signal flow, data mapping, network structures, and performative control—applicable to other environments as well.

===English version, for German, see above===
The focus lies on the design of digital environments: How do networked, spatial, and interactive media environments emerge? How can different technologies—video projection, multichannel audio with Dante, ambisonics, sensing, microscopy, and sonification—be meaningfully combined?

The seminar works with the infrastructure of the Digital Bauhaus Lab and incorporates additional university spaces, such as the Hybrid Learning Studio. The aim is to connect technical foundations with spatial thinking and conceptual development, and to design independent usage scenarios for networked media environments.

Guest lectures from the sound departments, as well as invited artists, complement the practical work with insights into current artistic practice.

===AI: Data, Power & Aesthetics – Between (Data) Science and (Sub)culture===

Parallel dazu steht Theodor W. Adornos Kritik der Kulturindustrie: Kultur und Technik werden standardisiert, ökonomisch organisiert und auf Effizienz getrimmt. Differenz wird geglättet, Subjektivität formatiert. In der heutigen Plattformökonomie zeigt sich diese Logik algorithmisch: KI wird zur Monopol-Machtform, wenn Modelle, Daten und Infrastrukturen in den Händen weniger Konzerne liegen. Nicht die Technologie selbst ist das Problem, sondern ihre Konzentration in hegemonialen Strukturen.

Zwischen diesen beiden Positionen bewegt sich das Seminar:
KI steht im Spannungsfeld zwischen offener, gestaltbarer Technik (Simondon) und normierter, monopolistisch organisierter Kulturindustrie (Adorno). Genau in dieser Spannung wird Technik politisch.

Als Gegenpol betrachten wir künstlerische und subkulturelle Praktiken, die bewusst außerhalb des normalen Betriebs entstehen – dort, wo Kunst nicht standardisiert, sondern riskiert wird. Positionen wie Maya Deren, Kenneth Anger oder Peter Brötzmann zeigen, wie ästhetische Formen aus Randzonen, Gegenkulturen und experimentellen Milieus hervorgehen. Hier wird Technik nicht effizient gemacht, sondern gebrochen, verfremdet und neu angeeignet.

Subkultur fungiert damit als Gegenmodell zur Kulturindustrie: ein Raum, in dem Differenz möglich bleibt – und in dem auch KI nicht als Monopol-Infrastruktur, sondern als künstlerisches Material und politisches Werkzeug gedacht werden kann.

This seminar opens the black box of AI—not to mystify it, but to make it understandable. We begin with an accessible introduction to the fundamentals of machine learning: what do “data,” “models,” “training,” and “prediction” actually mean? The aim is to separate technical mechanisms from marketing narratives—and to neither demonize nor glorify AI.

In the second part, we shift the focus to the societal dimension of technology. With Gilbert Simondon, we understand technology as something open: it emerges through its interaction with social and cultural environments. Technical systems are not closed black boxes, but relational assemblages that continue to evolve.

In parallel, we consider Theodor W. Adorno’s critique of the culture industry: culture and technology become standardized, economically organized, and optimized for efficiency. Difference is smoothed out, subjectivity formatted. In today’s platform economy, this logic manifests algorithmically: AI becomes a monopolistic form of power when models, data, and infrastructures are concentrated in the hands of a few corporations. The problem is not the technology itself, but its concentration within hegemonic structures.

The seminar moves between these two positions:
AI exists in a field of tension between open, shapeable technology (Simondon) and a standardized, monopolistically organized culture industry (Adorno). It is precisely within this tension that technology becomes political.

As a counterpoint, we examine artistic and subcultural practices that emerge deliberately outside of normalized systems—where art is not standardized, but risked. Figures such as Maya Deren, Kenneth Anger, and Peter Brötzmann demonstrate how aesthetic forms arise from margins, countercultures, and experimental milieus. Here, technology is not made efficient, but disrupted, defamiliarized, and reappropriated.

Subculture thus functions as a counter-model to the culture industry: a space in which difference remains possible—and in which AI can be conceived not as a monopolistic infrastructure, but as artistic material and a political tool.

Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance

2026-03-29T19:38:11Z

Miga: Miga moved page Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance to GMU:Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance

#REDIRECT [[GMU:Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance]]

GMU:Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance

2026-03-29T19:38:11Z

Miga: Miga moved page Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance to GMU:Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance

=== Beschreibung: ===
We will explore how artists respond to pervasive surveillance systems, from face recognition to data tracking, using both conceptual frameworks and hands-on experimentation.

Students will engage with critical texts on surveillance and digital culture, while experimenting with technology and creative practices that challenge or subvert monitoring technologies.

Ideal for students interested in participatory learning, digital surveillance culture, and socially engaged art. This course emphasizes curiosity, experimentation, and critical reflection, making each session a dynamic laboratory for ideas and practice.

Relational interactions

2026-03-29T19:37:25Z

Miga: Miga moved page Relational interactions to GMU:Relational interactions

#REDIRECT [[GMU:Relational interactions]]

GMU:Relational interactions

2026-03-29T19:37:25Z

Miga: Miga moved page Relational interactions to GMU:Relational interactions

Excursion
 14.04.2026, 07.09.2026 bis 14.09.2026
 Prof. Ursula Damm, Prof. Kerstin Ergenzinger Mindaugas Gapsevicius, Christian Doeller, Klaus Fritze

Our contemporary condition increasingly shows that human activities have a destructive effect on ecosystems — such as encompassing environmental degradation, transformations in social relations, and effects on cognitive and mental ecologies — call for renewed artistic and research-based inquiry into humanity’s conditions of existence. In response, artists and researchers from the Media Environments and Acoustic Ecologies Chairs at Bauhaus-Universität Weimar propose a framework that shifts attention away from computational systems understood in isolation, toward the broader field of relational interactions in which biological, technological, and perceptual processes co-emerge.

The works contributed to this year’s Ars Electronica exhibition build upon ongoing research initiatives, including Non-Machines, PostCompost, Listening to Change and Wetlands. These projects approach life not as a discrete, bounded, or fully computable entity, but as a dynamic constellation of relational processes. Within this constellation, humans, non-human organisms, materials, and technological systems participate in continuous exchanges that generate emergent forms of agency, perception, and organization. Rather than positioning technology as external to life, these works investigate how technological and biological processes mutually inform and transform one another.

Situated at the intersection of contemporary art, biology, cybernetics, and transdisciplinary practice, the proposed contribution advances a shift beyond mechanistic and anthropocentric paradigms. It foregrounds hybrid systems in which agency is distributed, contingent, and co-constituted through interaction. The works function both as artistic propositions and epistemic instruments, enabling visitors to encounter and reflect upon processes that challenge conventional distinctions between organism and environment, subject and object, and living and non-living systems.

Through artistic experimentation, ecological engagement, and theoretical reflection, the contribution articulates an alternative conceptual framework in which life, art, and technology are understood as inseparable and mutually constitutive processes. In doing so, it invites audiences to reconsider their position within complex ecological and technological entanglements, and to reflect on the forms of responsibility, care, and imagination required to inhabit these conditions.

Participants will be approached on an individual basis

GMU:Start

2026-03-29T19:36:42Z

Miga: /* SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses */

This is the wiki of the Media Environments chair. For the public website please refer to https://www.uni-weimar.de/gmu

==Featured Projects==
{|cellpadding="2px" cellspacing="2px" border="0" style="margin:10px 10px 10px 0; font-size:0.8em; line-height: 1;"
|width="300px"|[[File:Markt-und-Maus-2.jpg|300px|plug and pray|link=GMU:BFA MFA Finals#Stefan Pach: Markt und Maus]]

[[GMU:BFA MFA Finals#Stefan Pach: Markt und Maus |Markt und Maus]] (Market and Mouse) [[Stefan Pach |Stefan Pach]]

How can we make mice live by the rules of investment banking?

To improve the understanding of the dynamics of finance markets the "Market and Mouse"-System tries to simulate a part of the fiscal universe. The main analysis focuses on the aspect of investment banking. This is the field with the biggest possible profit. "Market and Mouse" investigates how mice decide if they have to choose between high risk but high value options and less lucrative possibilities.
 
 

|width="26px"|
|width="300px"|[[File:Brume1.jpg|300px|Brume|link=GMU:BFA MFA Finals#Sebastian Wolf .26 Michael Kugler: Brume]]

[http://einsdreidrei.com/Brume Brume] by [[Sebastian Wolf]] & Michael Kugler

In 'Brume', the artist duo Michael Kugler and Sebastian Wolf investigate immateriality by coaxing fog into a semi-geometrical, self-organizing form. The viewer becomes a catalyst for disturbance, generating turbulences that not only illustrate the carrying power of the air, but upset a perceived equilibrium, and reveal the spatial and temporal volatility of such a phenomenon. 'Brume' operates in the margins between ubiquity and the finite, symmetry and the amorphous, transience and permanence, and gesturing at the paradox of immateriality.
|-

|width="300px"|[[File:super-boxen front.jpg|Synbio|link=GMU:Synthetic Biology]]
|width="26px"|
|width="300px"|[[File:Plug and pray.png|300px|plug and pray|link=Mental Radio Arbeiten#Jörg Brinkmann: plug and pray]]

|-
|Super Cell is a fictional supermarket website offering speculative products related to Synthetic Biology and our project for iGEM 2010. [[GMU:Synthetic Biology|Super Cell]]
|
|„You shall not make for yourself an idol...“

...just google it.

plug & pray is an interactive artwork that allows believers to pray through their computer. plug & pray makes the search for God easier, with the help of the internet. plug & pray works as if you were praying. Believers use the pray device that activates a google image search for the word „God“ on the act of praying. plug & pray believers see the results of their prayers as spiritualized video, projected before their very eyes. [[Mental Radio Arbeiten#Jörg Brinkmann: plug and pray|Jörg Brinkmann: plug and pray]]
|}

Check out our archives with [[GMU:Works|student works]] and [[GMU:BFA MFA Finals|thesis works]] of BFA and MFA graduates.
 

== Research and Teaching Faculty ==
{|cellpadding="5"
|+
|-
|
Professor '''[[GMU:Ursula_Damm|Ursula Damm]]''' 
Marienstraße 5, Raum 304 
99423 Weimar 
Telefon:. +49 3643 / 58-3607 
E-Mail: ursula.damm [at] uni-weimar.de 
[http://www.ursuladamm.de ursuladamm.de] 
 
|

|
Artistic Associate 
'''[[GMU:Mindaugas Gapševičius|Mindaugas Gapševičius]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: mindaugas.gapsevicius [at] uni-weimar.de 
[http://www.triple-double-u.com triple-double-u.com] 
 
|}

Artistic Associate 
'''[[GMU:Alexander König|Alexander König]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
E-Mail: alexander.koenig [at] uni-weimar.de
[http://www.media-art-theory.com www.media-art-theory.com] 
 

Artistic Associate 
'''[[GMU:Isabella Lee Arturo|Isabella Lee Arturo]]''' 
Marienstraße 5, Raum 305 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: isabella.lee.arturo@uni-weimar.de isabella Lee Arturo[at] uni-weimar.de 
 
===[[GMU:Personen|other staff]]===

==SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses==
* [[GMU:Patterns|Patterns]] - Prof. Ursula Damm, Mindaugas Gapševičius
* [[GMU:Translating_the_Grid|Translating the Grid]] - Mindaugas Gapševičius, Felix Bonowski, Alessandro Volpato, partners from Lumina project
* [[Immersive Spaces (Part II): Art Installations with TouchDesigner]] - Isabella Lee Arturo
* [[Relational interactions|Relational interactions]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[GMU:Diy biolab drivers license SoSe26|Diy biolab drivers license SoSe26]] - Alessandro Volpato
* [[Tracking, Tracing, Patterns: Art in Times of Mass-Surveillance]]- Isabella Lee Arturo
* [[GMU:Audiovisual Interaction in TouchDesigner|Audiovisual Interaction in TouchDesigner]] - Alexander König

== WS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Back-to-Ecosystems|Back to Ecosystems]] - Mindaugas Gapševičius, Isabella Lee Arturo, Bethan Hughes
* [[GMU:sensing-the-campus|Sensing the Campus]] - Christian Doeller
* [[GMU:Wetlands|Wetlands]] - Prof. Angeliki Poulou, Prof. Laura Beloff, Prof. Kerstin Ergenzinger, Prof. Ursula Damm, Dr. Mindaugas Gapševičius, Prof. Dimitris Charitos, Prof. Alexandros Kontogeorgakopoulos, Prof. Katerina Antonopoulou, Prof. Haris Rizopoulos, Felix Bonowski
* [[GMU:Relationship patterns in the environments|Relationship patterns in the environments]] (Beziehungsmuster in den Umwelten) - Dr. Klaus Herbst (Fritze)
* [[GMU:Diy biolab drivers license WiSe25|Diy biolab drivers license WiSe25]] - Alessandro Volpato
* [[GMU:Computer aided fabrication in the wilderness WiSe25|Computer aided fabrication in the wilderness]] - Felix Bonowski
* [[Immersive Spaces (Part I): Art Installations with TouchDesigner and more]] - Isabella Lee Arturo
* [[DataNatures]] - Verena Friedrich, Dr. Klaus Herbst (Fritze), Dr. Alexander König

== SS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Technosolutionism + Silicone Nightmares|Technosolutionism + Silicone Nightmares]] - Bethan Hughes
* [[GMU:Hallucinating computers and dreaming non-machines|Hallucinating computers and dreaming non-machines]] - Prof. Ursula Damm, Isabella Lee Arturo, Dr. Mindaugas Gapševičius
* [[GMU:Re-enchanting the field|Re-enchanting the field]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[Speech-to-text-to-Actions]] - Isabella Lee Arturo
* [[Aesthetics of Macroworlds - An interdisciplinary journey into microscopic worlds using Touchdesigner]] - Dr. Alexander König, Alessandro Volpato
* [[The dimensions of Language - The functioning of AI between theory, practice and criticism.]] - Dr. Alexander König
* [[Touchdesigner Basics]] - Dr. Alexander König, Belcim Yavuz
* [[GMU:postcompost-forest-reset|PostCompost – Forest Reset]] - Christian Doeller, Klaus Fritze/Herbst, Prof. Ursula Damm
* [[GMU:Computer-aided-fabrication-in-the-wilderness|Computer aided fabrication in the wilderness]] - Felix Bonowski

== WS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==

* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann) GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann)]
* [[GMU:Performing for Machines (Body Work in Cybernetic Systems) - Isabella Lee Arturo]]
* [[GMU:Exhibitionist! (how to do Art Exhibitions) - Isabella Lee Arturo]]
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:The_Plant_Plant GMU:The Plant Plant – Christian Doeller, Klaus Fritze]
* [[GMU:Life_in_an_aquatic_ecosystem|GMU:Life in an aquatic ecosystem]] - Mindaugas Gapševičius, Alessandro Volpato

== SS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Data as Artistic Material]] - Juliane Götz, Sebastian Neitsch (Künstlerduo Quadrature)
*[[GMU:Winning natural habitats]] - Mindaugas Gapševičius & Klaus Herbst
*[[GMU:Diy biolab drivers licence SoSe24|GMU:DIY BioLab Driver's license]] - Alessandro Volpato
*[[GMU:Growing microorganisms for bioart projects SoSe24|GMU:Growing microorganisms for bioart projects]] - Alessandro Volpato
*[[GMU:Embodiment Toolkit|GMU:Embodiment Toolkit]] - Christian Doeller

== WS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Beings and Machines]] - Prof. Ursula Damm
*[[GMU:Non-machines]] - Mindaugas Gapševičius
*[[GMU:Tired Machines Orchestra]] - Christian Doeller
*[[GMU:Making the Artist Present. Exploring Performative Practices]] - Martin Mueller (Bauhaus.Modul)
*[[GMU:Diy biolab drivers licence|GMU:DIY BioLab Driver's licence]] - Alessandro Volpato
*[[GMU:Design with Fungi]] - Alessandro Volpato
*GMU: LICHEN Workshop The Lichenlounge featuring Edible Lichen - Dr. Klaus Fritze
*GMU: LICHEN Expedition: Biodiversity in Thuringia Forest - Dr. Klaus Fritze and Dr. Jan Vondrak

== SS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU: Maps, Territories and Possibility Spaces]] - Prof. Ursula Damm
*[[GMU:Photosynthesis and I]] - Mindaugas Gapsevicius

== WS 2022 – Aktuelle Lehrveranstaltungen – Current Courses ==
===Projektmodule===
*[[GMU:Construction - Destruction|Construction - Destruction]] - Prof. Ursula Damm

{{GMU:Lehrveranstaltungen/SS23}}

== WS 2022/23 – Vergangene Lehrveranstaltungen – Previous Courses ==
{{GMU:Lehrveranstaltungen/WS22}}

== Lehrveranstaltungen (Archiv) – Previous Courses ==
{{GMU:Previous Semesters}}

== Equipment ==
* [[GMU:Equipment|GMU Equipment]] – ''Equipment for Students of the Media Environments (GMU)''
* [[Equipment|Mediapoint]] – ''Equipment for all Students of Media Art + Design''

== Inside GMU ==
* [[GMU:Mailinglist|GMU Mailingliste]] – ''sign up using the [http://listserv.uni-weimar.de/mailman/listinfo/gmu web-interface]
* [[GMU:Links|GMU Linklist]]

{{Template:Help}}

2026-02-27T08:33:38Z

Miga: /* SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses */

This is the wiki of the Media Environments chair. For the public website please refer to https://www.uni-weimar.de/gmu

==Featured Projects==
{|cellpadding="2px" cellspacing="2px" border="0" style="margin:10px 10px 10px 0; font-size:0.8em; line-height: 1;"
|width="300px"|[[File:Markt-und-Maus-2.jpg|300px|plug and pray|link=GMU:BFA MFA Finals#Stefan Pach: Markt und Maus]]

[[GMU:BFA MFA Finals#Stefan Pach: Markt und Maus |Markt und Maus]] (Market and Mouse) [[Stefan Pach |Stefan Pach]]

How can we make mice live by the rules of investment banking?

To improve the understanding of the dynamics of finance markets the "Market and Mouse"-System tries to simulate a part of the fiscal universe. The main analysis focuses on the aspect of investment banking. This is the field with the biggest possible profit. "Market and Mouse" investigates how mice decide if they have to choose between high risk but high value options and less lucrative possibilities.
 
 

|width="26px"|
|width="300px"|[[File:Brume1.jpg|300px|Brume|link=GMU:BFA MFA Finals#Sebastian Wolf .26 Michael Kugler: Brume]]

[http://einsdreidrei.com/Brume Brume] by [[Sebastian Wolf]] & Michael Kugler

In 'Brume', the artist duo Michael Kugler and Sebastian Wolf investigate immateriality by coaxing fog into a semi-geometrical, self-organizing form. The viewer becomes a catalyst for disturbance, generating turbulences that not only illustrate the carrying power of the air, but upset a perceived equilibrium, and reveal the spatial and temporal volatility of such a phenomenon. 'Brume' operates in the margins between ubiquity and the finite, symmetry and the amorphous, transience and permanence, and gesturing at the paradox of immateriality.
|-

|width="300px"|[[File:super-boxen front.jpg|Synbio|link=GMU:Synthetic Biology]]
|width="26px"|
|width="300px"|[[File:Plug and pray.png|300px|plug and pray|link=Mental Radio Arbeiten#Jörg Brinkmann: plug and pray]]

|-
|Super Cell is a fictional supermarket website offering speculative products related to Synthetic Biology and our project for iGEM 2010. [[GMU:Synthetic Biology|Super Cell]]
|
|„You shall not make for yourself an idol...“

...just google it.

plug & pray is an interactive artwork that allows believers to pray through their computer. plug & pray makes the search for God easier, with the help of the internet. plug & pray works as if you were praying. Believers use the pray device that activates a google image search for the word „God“ on the act of praying. plug & pray believers see the results of their prayers as spiritualized video, projected before their very eyes. [[Mental Radio Arbeiten#Jörg Brinkmann: plug and pray|Jörg Brinkmann: plug and pray]]
|}

Check out our archives with [[GMU:Works|student works]] and [[GMU:BFA MFA Finals|thesis works]] of BFA and MFA graduates.
 

== Research and Teaching Faculty ==
{|cellpadding="5"
|+
|-
|
Professor '''[[GMU:Ursula_Damm|Ursula Damm]]''' 
Marienstraße 5, Raum 304 
99423 Weimar 
Telefon:. +49 3643 / 58-3607 
E-Mail: ursula.damm [at] uni-weimar.de 
[http://www.ursuladamm.de ursuladamm.de] 
 
|

|
Artistic Associate 
'''[[GMU:Mindaugas Gapševičius|Mindaugas Gapševičius]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: mindaugas.gapsevicius [at] uni-weimar.de 
[http://www.triple-double-u.com triple-double-u.com] 
 
|}

Artistic Associate 
'''[[GMU:Alexander König|Alexander König]]''' 
Marienstraße 5, Raum 208 
99423 Weimar 
E-Mail: alexander.koenig [at] uni-weimar.de
[http://www.media-art-theory.com www.media-art-theory.com] 
 

Artistic Associate 
'''[[GMU:Isabella Lee Arturo|Isabella Lee Arturo]]''' 
Marienstraße 5, Raum 305 
99423 Weimar 
Telefon: +49 3643 /58-3871 
E-Mail: isabella.lee.arturo@uni-weimar.de isabella Lee Arturo[at] uni-weimar.de 
 
===[[GMU:Personen|other staff]]===

==SS 2026 – Aktuelle Lehrveranstaltungen – Current Courses==
* [[GMU:Patterns|Patterns]] - Prof. Ursula Damm, Mindaugas Gapševičius
* [[GMU:Translating_the_Grid|Translating the Grid]] - Mindaugas Gapševičius, Felix Bonowski, Alessandro Volpato, partners from Lumina project

== WS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Back-to-Ecosystems|Back to Ecosystems]] - Mindaugas Gapševičius, Isabella Lee Arturo, Bethan Hughes
* [[GMU:sensing-the-campus|Sensing the Campus]] - Christian Doeller
* [[GMU:Wetlands|Wetlands]] - Prof. Angeliki Poulou, Prof. Laura Beloff, Prof. Kerstin Ergenzinger, Prof. Ursula Damm, Dr. Mindaugas Gapševičius, Prof. Dimitris Charitos, Prof. Alexandros Kontogeorgakopoulos, Prof. Katerina Antonopoulou, Prof. Haris Rizopoulos, Felix Bonowski
* [[GMU:Relationship patterns in the environments|Relationship patterns in the environments]] (Beziehungsmuster in den Umwelten) - Dr. Klaus Herbst (Fritze)
* [[GMU:Diy biolab drivers license WiSe25|Diy biolab drivers license WiSe25]] - Alessandro Volpato
* [[GMU:Computer aided fabrication in the wilderness WiSe25|Computer aided fabrication in the wilderness]] - Felix Bonowski
* [[Immersive Spaces (Part I): Art Installations with TouchDesigner and more]] - Isabella Lee Arturo
* [[DataNatures]] - Verena Friedrich, Dr. Klaus Herbst (Fritze), Dr. Alexander König

== SS 2025 – Aktuelle Lehrveranstaltungen – Current Courses ==
* [[GMU:Technosolutionism + Silicone Nightmares|Technosolutionism + Silicone Nightmares]] - Bethan Hughes
* [[GMU:Hallucinating computers and dreaming non-machines|Hallucinating computers and dreaming non-machines]] - Prof. Ursula Damm, Isabella Lee Arturo, Dr. Mindaugas Gapševičius
* [[GMU:Re-enchanting the field|Re-enchanting the field]] - Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius
* [[Speech-to-text-to-Actions]] - Isabella Lee Arturo
* [[Aesthetics of Macroworlds - An interdisciplinary journey into microscopic worlds using Touchdesigner]] - Dr. Alexander König, Alessandro Volpato
* [[The dimensions of Language - The functioning of AI between theory, practice and criticism.]] - Dr. Alexander König
* [[Touchdesigner Basics]] - Dr. Alexander König, Belcim Yavuz
* [[GMU:postcompost-forest-reset|PostCompost – Forest Reset]] - Christian Doeller, Klaus Fritze/Herbst, Prof. Ursula Damm
* [[GMU:Computer-aided-fabrication-in-the-wilderness|Computer aided fabrication in the wilderness]] - Felix Bonowski

== WS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==

* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann) GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann)]
* [[GMU:Performing for Machines (Body Work in Cybernetic Systems) - Isabella Lee Arturo]]
* [[GMU:Exhibitionist! (how to do Art Exhibitions) - Isabella Lee Arturo]]
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:The_Plant_Plant GMU:The Plant Plant – Christian Doeller, Klaus Fritze]
* [[GMU:Life_in_an_aquatic_ecosystem|GMU:Life in an aquatic ecosystem]] - Mindaugas Gapševičius, Alessandro Volpato

== SS 2024 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Data as Artistic Material]] - Juliane Götz, Sebastian Neitsch (Künstlerduo Quadrature)
*[[GMU:Winning natural habitats]] - Mindaugas Gapševičius & Klaus Herbst
*[[GMU:Diy biolab drivers licence SoSe24|GMU:DIY BioLab Driver's license]] - Alessandro Volpato
*[[GMU:Growing microorganisms for bioart projects SoSe24|GMU:Growing microorganisms for bioart projects]] - Alessandro Volpato
*[[GMU:Embodiment Toolkit|GMU:Embodiment Toolkit]] - Christian Doeller

== WS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU:Beings and Machines]] - Prof. Ursula Damm
*[[GMU:Non-machines]] - Mindaugas Gapševičius
*[[GMU:Tired Machines Orchestra]] - Christian Doeller
*[[GMU:Making the Artist Present. Exploring Performative Practices]] - Martin Mueller (Bauhaus.Modul)
*[[GMU:Diy biolab drivers licence|GMU:DIY BioLab Driver's licence]] - Alessandro Volpato
*[[GMU:Design with Fungi]] - Alessandro Volpato
*GMU: LICHEN Workshop The Lichenlounge featuring Edible Lichen - Dr. Klaus Fritze
*GMU: LICHEN Expedition: Biodiversity in Thuringia Forest - Dr. Klaus Fritze and Dr. Jan Vondrak

== SS 2023 – Aktuelle Lehrveranstaltungen – Current Courses ==
*[[GMU: Maps, Territories and Possibility Spaces]] - Prof. Ursula Damm
*[[GMU:Photosynthesis and I]] - Mindaugas Gapsevicius

== WS 2022 – Aktuelle Lehrveranstaltungen – Current Courses ==
===Projektmodule===
*[[GMU:Construction - Destruction|Construction - Destruction]] - Prof. Ursula Damm

{{GMU:Lehrveranstaltungen/SS23}}

== WS 2022/23 – Vergangene Lehrveranstaltungen – Previous Courses ==
{{GMU:Lehrveranstaltungen/WS22}}

== Lehrveranstaltungen (Archiv) – Previous Courses ==
{{GMU:Previous Semesters}}

== Equipment ==
* [[GMU:Equipment|GMU Equipment]] – ''Equipment for Students of the Media Environments (GMU)''
* [[Equipment|Mediapoint]] – ''Equipment for all Students of Media Art + Design''

== Inside GMU ==
* [[GMU:Mailinglist|GMU Mailingliste]] – ''sign up using the [http://listserv.uni-weimar.de/mailman/listinfo/gmu web-interface]
* [[GMU:Links|GMU Linklist]]

{{Template:Help}}

GMU:Patterns

2026-02-16T15:23:38Z

Miga: Created page with "=Patterns. Acting in complex environments= Prof. Ursula Damm, Mindaugas Gapševičius 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 th..."