Medien Wiki - User contributions [en]

GMU:Istanbul/videosynthesis - playing a film

2019-03-26T16:06:16Z

Regina: Blanked the page

GMU:Istanbul

2019-03-26T16:06:00Z

Regina: /* Projects */

'''Das Projekt Istanbul beinhaltet ein Projekt, ein wissenschaftliches Modul entweder ein Fach oder ein Werkmodul. Wer sich für das Projekt inclusive der Exkursion im Juli entscheidet kann keine anderen Kurse mehr besuchen. Montag und Dienstag sind komplett für die Kurse einzuplanen, der Rest der Woche ist für die eigene Arbeit reserviert.'''

Beschreibung des Projektmoduls:

[[:Category:Projektmodul|Projektmodul]] 
''Lehrperson:'' [[Ursula Damm]] 
''Bewertung:'' 18 [[ECTS]], 6 [[SWS]] 
''Termin:'' Dienstag, 15:15 bis 18:30 Uhr 
''Ort:'' [[Marienstraße 7b]], Raum 204 
''Erster Termin:'' t.b.a.

===English description===
Through the project we aim to explore interactive practices and media formats, that are suitable to shape common experiences in public space.
In contrast to the one-way communication of mass media spectacles we aim to explore processes that allow different types of participation. On a concrete level we aim to experiment with a range of sensor modules, for example the citizen sensor (http://citizensensor.cc/) as well as "perception devices"‚ that employ multiple sensors and cameras, sensors for animals in public space, video and photo traps, video mapping and so on.
The project will be commonly prepared by students of Urban Development and
students of Media Art and Design. During the first part of the semester we will be working towards a two-week study trip to Istanbul. On-site the students from Weimar will collaborate with local students from Istanbul in groups of two or three.
Each group will develop and execute their own project idea within a more general assignment.

== Beschreibung ==
Kunst hat eine große Bedeutung für die Selbstdarstellung und Selbstwahrnehmung einer Gesellschaft. Traditionelle Kunst-Praktiken jedoch finden in ausgewählten Institutionen, besseren Stadtvierteln und meist auch vor und mit einer exklusiven gesellschaftlichen Schicht statt. Medien und ihre Methoden lösen diese historisch gewachsenen Verbünde und ermöglichen Kommunikation jenseits von festgelegten Orten, jenseits einer beschränkten Adressatenschaft. Mediale Praktiken werden verhandelt über neue Kanäle, sie definieren sich in einem Zusammenspiel von Künstler und Publikum.

Istanbul ist wie keine andere Stadt geprägt ist von komplexen historischen Bedingungen. Innerhalb dieser steingewordenen Fakten lebt sie die ständige Bewältigung ethnischer wie sozialer Unterschiede. Istanbul verbindet nicht nur Europa und Asien, auch für die Verständigung zwischen uns und der Arabischen Welt wird der Stadt eine Schlüsselrolle zugeschrieben.

Neben dieser sozio-politischen Komplexität hat sich Istanbul spätestens als Kulturhauptstadt Europas in der zeitgenössischen Kunstszene etabliert. All dies macht Istanbul attraktiv für mediale Experimente und Untersuchungen im öffentlichen Raum.

Im Projekt möchten wir interaktiven Praktiken und mediale Formate erproben, die geeignet sind, das gemeinsame Erleben im öffentlichen Raum zu gestalten. Anders als bei massenmedialen Spektakeln und deren einseitiger Kommunikation sollen Verfahren getestet werden, die unterschiedliche Formen der Partizipation ermöglichen.
Solche Praktiken basieren auf Sensormodulen wie z.B. der [http://citizensensor.cc Citizensensor], kombinierte Wahrnehmnungsapparate aus mehreren Sensoren und Kameras, Sensoren für Stadttiere, Video- oder Fotofallen, reaktive und interaktive Formen des Videomapping etc.
Das Projekt wird gemeinsam von Studierenden der Urbanistik zusammen mit Studierenden der Medienkunst/Mediengestaltung in Weimar vorbereitet.
In einem zweiwöchigen Studienaufenthalt in Istanbul sollen jeweils zwischen türkischen und deutschen Studierenden Zweier - oder Dreier-Arbeitsgruppen gebildet werden. Diese einigen sich auf ein eigenständiges Vorhaben im Rahmen des Gesamtprojektes.

=== Wissentschaftliches Modul ===
Das verpflichtende wissentschaftliche Modul ''Understanding Istanbul'' bei Prof Eckhard findet Montags 17:00 – 18:30 in der Geschwister-Scholl-Str. 8a (Hauptgebäude) in Raum 105 statt.
==== Topics/Syllabus ====
* April 30th: Urban governance/planning
* May 7th: Migrants, informal economy
* May 14th: Urban poverty, housing
* May 21th: Ismaic city, gender
* May 28th: cultural identiy
* June 4th: design shops / gentification
* June 11th: Gloablisation / Urban protest
* June 15-27th: Excursion to İstanbul
** [[/Excursion|Schedule for the excursion]]
** [[/Images/]]
* June 25th: Debriefing and evaluation
* July 12th to 15th: [[/Summaery/]]

==== Files ====
* [https://www.dropbox.com/home/%C4%B0stanbul%20GMU Dropbox]

=== Werk- und Fachmodul ===
Undergraduates schreiben sich bitte für das Wekmodul, Graudates für das Fachmodul ein. Beide Module finden immer Dienstags 9:15-12:30 statt.
* Werkmodul: [[GMU:I, Sensor]] Max Neupert, Bernhard Hopfengärtner, Gunnar Green
* Fachmodul: [[GMU:The Device is not the Territory]] Max Neupert, Bernhard Hopfengärtner, Gunnar Green

==Leistungsnachweis==
Aktive Teilnahme, Präsentation, künstlerische Prüfung, Dokumentation, Eintrag im Wiki.

==Zielgruppe==
Studierende der Fakultäten Medien, Gestaltung und des Studiengangs Medienarchitektur

==Mailinglist==
You should be subscribed to our Mailinglist to receive updates and be part of the discussion.
* [https://mg.medien.uni-weimar.de/mailman/listinfo/istanbul Mailinglist for this class]

==Projects==
*[[/Cramped Conditions/]], [[Eva Thinius]]
*[[/EHH? the game/]], Jorgelina Garcia
*[[/Asymmetrical Patterns/]], Myrsini Aristidou / Filippo Mattia Dobrovich
*[[/WALKING IN ISTANBUL /]], Lu Jin
*[[/Guess who/]], [[Alva Gamula]]
*[[/Horizon/]], Raphael Kittell
*[[/Little Big Places/]], Estel Martínez / Leonardo Cannizzo
*[[/city faces/]], Júlia Palao and Sebastian Prince
*[[/Mixed city/]], Günışığı Cihangir
*[[/Everyday life choreographies/]], Mandy Unger

== Literatur und Film ==
* [http://www.uni-weimar.de/cms/universitaet/zentrale-einrichtungen/universitaetsbibliothek/recherche/semesterapparate/semesterapparate-medien/neu-medien-semesterapparate/ms-2012-21.html Semesterapparat]

=== Fachliteratur ===
* Deniz Göturk, Levent Soysal, Ipek Türeli: Orienting Istanbul: Cultural Capital of Europe? ISBN 978-0415580113
* Frank Eckardt, Kathrin Wildner: Public Istanbul: Spaces and Spheres of the Urban ISBN 978-3899428650
* Frank Eckardt: Die komplexe Stadt: Orientierungen im urbanen Labyrinth ISBN 978-3-531-16507-3
* Deniz Götktürk, Levent Soysal aud Ipek Türeli: Orienting Istanbul – Cultural Capital of Europe? ISBN 9780515580113
* Antje Feger, Benjamin F Stumpf: Public Idea Artistic Approaches to the Urban Sphere of Istanbul ISBN 9-783868-951479
* Christoph Bürkle: Istanbul: hippe Stadt am Horn ISBN 3-03-717019-0
* Berliner Atlas paradoxaler Mobilität: ISBN 978-3-88396-304-4
* William H. Whyte, The social life of small urban spaces, 1980 [https://vimeo.com/6821934 Video]
* Simon Sadler, The Situationist City, ISBN 0262692252
* Kazys Varnelis Hg., Networked Publics, ISBN 0262220857
* Kazys Varnelis, Blue Monday, Stories of Absurd Realities and Natural Philosophies, ISBN 8496540537

===Romane===
* Orhan Pamuk: Istanbul. Erinnerungen an eine Stadt ISBN 978-3446208261
* Orhan Pamuk: Rot ist mein Name ISBN 978-3596156603
* Esmahan Aykol: Hotel Bosporus. ISBN 978-3257234435
* Mario Levi: Istanbul war ein Märchen ISBN 978-3518461372
* Unser Istanbul: Junge türkische Literatur, Constanze Letsch [Herausgeberin] ISBN 978-3833305573

===Filme===
* [[wikipedia:de:Crossing The Bridge – The Sound of Istanbul|Crossing the Bridge – The Sound of Istanbul (İstanbul Hatırası – Köprüyü Geçmek)]]
* [[wikipedia:Istanbul Tales|Istanbul Tales]] [http://www.anlatistanbul.com/german/default.asp A nlat İstanbul (Istanbul Tales)]
* [[wikipedia:A Touch of Spice|Bir Tutam Baharat (A Touch of Spice)]]
* [http://film.iksv.org/en/film/79 Unutma beni Istanbul (Do not forget me Istanbul)]
* [http://film.iksv.org/en/film/80 Haliç, Altın Boynuz (Haliç Golden Horn)]
* [http://film.iksv.org/en/film/81 İstanbul’da Aşk (Love in Istanbul) ]
* [[wikipedia:Uzak|Uzak (Distant)]]
* [[wikipedia:Hamam (film)|Hamam]]
* [[wikipedia:Istanbul Beneath My Wings|İstanbul Kanatlarımın Altında (Istanbul beneath my wings)]]
* [http://www.10to11.com 11’e 10 kala (10 to 11)]

==Links==
* [[wikipedia:Istanbul]]
* [[wikipedia:de:Istanbul]]
* [[Walks]] Audio and Video walks
* [http://www.zeit.de/themen/reisen/cityguide-istanbul/index THEMENPORTAL ZEIT-ONLINE: City Guide Istanbul]
* [http://www.perlentaucher.de/ptautoren/1/1.html Constanze Letsch. Post aus Istanbul.]
* [http://senseable.mit.edu/ senseable city lab]

===Istanbul===
* [http://www.ekumenopolis.net Documentary about the urbanization of Istanbul]

=== Künstlerpositionen zum Thema Stadt ===
* [http://web.mit.edu/vap/people/faculty/faculty_wodiczko.html Krzysztof Wodiczko]
* [http://www.yolandeharris.net Yolande Harris]
* [http://www.ubermatic.org Michelle Teran]
* [http://mileschalcraft.net Miles Chalcraft]
* [http://michaelrakowitz.com/ Michael Rakowitz]
* [[wikipedia:de:Walid Raad|Walid Raad]]
* [http://www.ft-contemporary.com/artists/dionisiogonzlez Dionisio Gonzalez]
* [http://www.lozano-hemmer.com Rafael Lozano-Hemmer]
* [http://www.willembesselink.nl/read/kiezwege_berlin?submenu=4255 Willem Besselink]
* [http://www.raumlabor.net/ Raumlabor]
* [http://www.andinc.org/v3/ Mark Shepard]
* [http://www.blasttheory.co.uk/bt/index.php Blast Theory]
* [http://burak-arikan.com/ Burak Arikan]

=== Architektonische Utopien zur Stadt ===
* [http://archigram.westminster.ac.uk/project.php?id=56 Archigrams plug-in city]
* [http://www.medienkunstnetz.de/artist/archizoom/biography Archizoom]
* [http://iasl.uni-muenchen.de/links/GCA-II.3.html#Seek Architecture Machine v. N. Negroponte]

=== aktuelle künstlerische Aktivitäten ===
* [http://vimeo.com/antivj/videos AntiVJ]
* [http://www.urbanscreen.com Urban screen]
* [http://www.rimini-protokoll.de/website/en/index.php Rimini Protokoll]
* [http://2009.paraflows.at/index.php?id=121&L=iBZzQin2 Urban Hacking 2009]
* [http://www.hacking-the-city.org/ Hacking the City]
* [http://www.ted.com/talks/charlie_todd_the_shared_experience_of_absurdity.html Charlie Todd]
* [https://vimeo.com/20412632 Timo Arnall]
* [http://www.sentientcity.net/exhibit/?p=5 Amphibious Architecture]

=== Kunsttheorie ===
* [http://dreher.netzliteratur.net/1_Aktions-u.Konzeptkunst.html Aktions- und Konzeptkunst]
* [http://www.emotionalcartography.net Emotionalcartography]

== Map ==
{{
#display_map:
Istanbul, Turkey
| service=openlayers
| layers=osm-mapnik,osmarender,osm-cyclemap,osm-oepnv,bing
}}

GMU:Istanbul/videosynthesis - playing a film

2019-03-26T16:04:59Z

Regina: /* 1. Videosynthesis */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
Can you remeber playing a game when nothing more is lying around than a sheet of paper and a pen? You start to write down a sentence or you draw some elements on the sheet. You fold the paper so that the others are only be able to read a snippet of what you've written. You pass it on to the next person who repeats the schema... and after some rounds you have a surreal, funny story or painting.

How would it be like if this playfully method would be used to discover an urban environment by transfering it to the medium of video and the web? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to one surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as a city and in this case Istanbul - is said to be.

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my 4. Experiment I decided to give the filmmakers individual short instructions which changed from video to video. One instruction was to integrate a place into the video which had a special meaning for the filmmaker. The results of the submitted videos led to another video work which searches for emotional relations between people and their special places.

GMU:Istanbul/videosynthesis - playing a film

2019-03-26T16:04:24Z

Regina: /* 1. Videosynthesis */

GMU:Istanbul/videosynthesis - playing a film

2019-03-26T16:04:02Z

Regina: /* Video Installation */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
Can you remeber playing a game when nothing more is lying around than a sheet of paper and a pen? You start to write down a sentence or you draw some elements on the sheet. You fold the paper so that the others are only be able to read a snippet of what you've written. You pass it on to the next person who repeats the schema... and after some rounds you have a surreal, funny story or painting.

How would it be like if this playfully method would be used to discover an urban environment by transfering it to the medium of video and the web? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

[[File:AppScribble.jpg‎|thumb|1. AppScribble]]

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to one surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as a city and in this case Istanbul - is said to be.

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my 4. Experiment I decided to give the filmmakers individual short instructions which changed from video to video. One instruction was to integrate a place into the video which had a special meaning for the filmmaker. The results of the submitted videos led to another video work which searches for emotional relations between people and their special places.

===2. A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The overall majority of the videos showed quiet, steady places. Therefore a patch was developed within Max MSP/Jitter which reflects the impression through a video installation.

GMU:Istanbul/videosynthesis - playing a film

2019-03-26T16:03:45Z

Regina: /* Concept */

File:Prinzip2 klein.jpg

2019-03-26T16:01:42Z

Regina: /* Source: */

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}

GMU:Projektwerkstatt Master/Projekte

2018-01-08T17:10:30Z

Regina:

== [[Michael Kugler]]: [[/Fog|Fog]] ==
“Fog” (working title) will likely take the form of an immersive/interactive audio-visual installation that explores the ethereal, low-lying “fog” that envelops Weimar and the surrounding landscape during the early morning. Through a series of filmed experiments in the countryside, I hope to challenge the “real-time” experience of the fog as it inundates and subsequently dissipates within the landscape. Eventually, I hope to produce work that mines and playfully manipulates the spatial and temporal dimensions of this phenomenon and the environment in which it occurs. In addition to collecting footage from a variety of rural settings around Weimar, I will also conduct a series of experiments using artificially generated/man-made fog, and explore air (in its many forms) as a material/medium with which which to create work.

==[[Ivo Santos]]: [[/O Príncipe com orelhas de Burro/]]==
[[File:Implementation-1.jpg|thumb|caption]]
Translated “The Prince with Donkey ears” is a tale about a Prince that was given donkey years at his birth by a very wise fairy after two other ones turn him into the most beautiful and smart prince in the World.

As he grew up his ears grew bigger and bigger so the King an Queen decided to cover them with a custom made hat. Unaware of his deformity, the prince became arrogant as his courtiers praised him as the most handsome and smart boy in the kingdom.

He soon turned into a young boy and his beard started growing so he had to go to the Barber.
 
== Sebastian Prince and Júlia Palao: [[/Windows!/]] ==
[[File:ventanas1.jpg|thumb|windows]]
Wir wollen eine Projektion an der grauen Wand des Universitäts Bibliotheks machen. Da werden wir eine Gebaude gestalten mit Videos verschiedene Venstern. Die Geräusche und Bewegungen der Leute auf der Straße beeinflussen die Videos der Fenstern.

We would like to do a projection in the grey wall of the university library. To do this project we are going to take some videos in the west part of weimar in this way we want to show the "other" part of weimar and play with the idea of steriotypes of the city. The movements of the people in the streets influence or affect the video through puredata.

GMU:In Sync/Projects

2018-01-08T17:09:08Z

Regina:

== [[User:Dogu1029|Sandra Guzman]]: [[/Breathing/]] ==
[[File:Breathing_Foto1.jpg|thumb|Breathing]]
'''Sound = Air = Living'''

''Breathing'' is an interactive Sculpture that creates organic movements by the interaction of sound. The sculpture is inspired by the anatomic structure of the respiratory system, such as lungs, diaphragm and thorax. The membrane as the heart of the sculpture contracts and expands representing the inhalation and exhalation. 
''Breathing'' is a visualization of the sound emitted by the living beings surrounding the sculpture. The sound waves transmitted by the air we breathe influences the movement of the membrane. The sculpture responds either to a whole room or to an interaction of a individual person.
 

== [[User:Maknike|Michael Kugler]]: [[/Fog Installation/]] ==
[[File:Wald.jpg|thumb|Ilm at Dawn]]

PROJECT DESCRIPTION:

My work in In Sync began with an interest in developing skills in Pure Data in order to program audiovisual environments. When I arrived in Weimar, I was immediately attracted to the elusive early morning fog that inundated the Thüringian landscape. For obvious reasons, fog has long been a subject of fascination for many visual artists; it tends to obfuscate objects and erase horizons; it invokes a sense of mystery and reminds one of the power of nature. One particular aspect of the fog that attracted me was its uniformity-both in terms of density and movement. Subsequently, I began thinking about the properties of fog --in its most simple form, water particles that cling to dust/debris--and the climate conditions necessary to its formation. After several attempts to represent the effect of fog on a filmed landscape, I became interested in how its spatial and temporal existence could be recreated in an installation environment. My research culminated in a proposal for an interactive installation that provides both a real-time and mediated experience of fog. As my project evolved, I aimed to find a linchpin between the creative and technical aspects of production. Through a largely experimental approach to programming in pure data, I further shaped my concept. The following examples serve to provide insight into my research and creative processes.

 

== Sebastian Prince and [[User:JuliaPalao|Júlia Palao]]: [[/Dance, Music, Media!/]] ==

We started with a basic idea to mix media, music and dance. Julia Palao, she is a cellist from barcelona who began to discover the media art. Sebastian Prince a professional dancer who is fascinated by the new performing arts. we need to be honest, for us was a really difficult way to start something so unknow, but in the end we achieved the result that we wanted. Our performance in simple words is basically about dance through pure date that begins to move when the music sounds. The dance was recorded in video. the music was live presented and likewise the two artistic fields created a mix between music, dance and media.
 

== [[User:Ji Kwon|Ji Kwon]]: [[/Little Life/]] ==
[[File:Little Life.jpg|thumb|Little Life]]

I would like to make a short film which is about my self. The viewers can select each video clips among 9~12 short films. I have been making many videos which is about my life in order to think about who I am and really glad that Pure Data is able to visualize what I have dreamed to make.

This work will be an interactive film which can work together with viewers.
 

== [[User:Graciousrain|Min J. Shin]]: [[/Fortune Teller/]] ==
[[File:fortuneteller.jpg|thumb|What do you want to know?]]

I don't know if you know i'm from South Korea or not, anyways the fortune tellers are really popular in Korea. I'm not sure if there are many fortune tellers in Europe, …probably not. I also like to know about my future, but just for fun!

So i made a patch named 'Fortune Teller'. If you ask about something like your future, or what if you're gonna get serious with her, etc., and then press space bar, it'll tell an answer about your problem…
 

== [[User:Martin Kohlstedt|Martin Kohlstedt]]==
=== [[/sound visualisation for music video/]]===
[[File:SoundtoColour.jpg|thumb|Sound to Colour]]

I'm working on making music video footage with inverted colours for projection with different soundvisualisation tools of Pd. I use the sigmund tool to pick out the pitch value und the loudness value to steer onward the corresponding cue points of the video...

 

=== [[/random music studies/]]===
[[File:Self composing random music.jpg|thumb|random pop music mashine Test]]
I've experimented with random music in combination with manifestations out of typical pop music patterns. The aim of the studies was to discover different borders of random music and in this way I've made many test patches about rhythm patterns, tempo changes , basslines, chord structures, pentatonic melodielines and repetitions in preparation for the master's program.

 

== [[User:Tommy Neuwirth|Tommy Neuwirth]]: [[/AUDIOVIDEOCUTUP/]] ==

[[File:Sliced drummer2.jpg|thumb|sliced drummer]]
Experiment with slicing audio/video on the basis of Tim Vets' autocutup-patch. Playing the separate slices back randomly or via MIDI. Still looking to get further with this.

 

== [[User:Ludwig|Ludwig Völker]]: [[/Ghostphone/]] ==
[[File:Telefon2.JPG|thumb|Ghostphone]]

A Movement Sensor activates the Telephone. The old Telephone start to ring, somebody will take the earcapsule and talk into it. The hook is connected with an Arduino which gives the start and stop information to the computer. At the same time it plays the recorded voice of the last person who talked to the phone. All Files are saved on Harddisk, so at the end of an exhibition you will get an experimental radio play, which contains all conversations which are made with the telephone.

GMU:BFA MFA Finals

2015-10-02T10:02:55Z

Regina:

==[[Regina Reusch]]: Hörwinkel==
[[File:Horwinkel.png|right|thumb|200px|Hörwinkel]]
[[File:App Screenshot 01.png|right|thumb|200px|Audio Walk App]]

Ein interaktiver Audiowalk

Hörwinkel ist ein interaktiver Hörspaziergang, realisiert am Beispiel der Innenstadt von Köln. 
Der Hörspaziergang verbindet urbane Klangcollagen mit den Portraits zweier Protagonisten, die unterschiedlicher kaum sein könnten. Was sie teilen ist eine starke Verbindung zu derselben Umgebung. Was sie teilen ist eine starke Verbindung zu derselben Umgebung - der Kölner Innenstadt. 

Mit den Erzählungen der beiden Protagonisten auf den Ohren gehen wir durch die Stadt und lernen einen uns vielleicht bereits bekannten Ort neu kennen. Mithilfe einer eigens entwickelten App ändern sich die Erzählungen und Klänge je nachdem, welche Wege wir zu welcher Tageszeit gehen. Übergeordnet geht es somit um das Besondere im Alltäglichen, das eigentlich das Alltäglichste ist: Menschliche Begegnungen.

[https://vimeo.com/108117696 Videodokumentation]

Die androidbasierte "Audio Walk"-App kann für eigene Projekte genutzt werden. Sie ist über den
[https://play.google.com/store/apps/details?id=com.lhansing.audiowalk2&hl=de Google Play Store] frei verfügbar.

Prüfer: Thomas Hawranke, Mark Shepard, Ursula Damm

 
==[[Stefan Pach]]: Markt und Maus==
[[Image:Markt-und-Maus-1.jpg|right|thumb|250px|Private investor-mice]]
[[Image:Markt-und-Maus-2.jpg|right|thumb|250px|Bank mice]]
(Market and Mouse)

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

''Master’s thesis 2013''

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 operators decide if they have to choose between high risk but high value options and less lucrative possibilities. Another part of the research are the consequences for the other market participants. In "Market and Mouse" these are institutional investors and private investors.

In most cases system analysis works with specially designed software. All system protagonists are replaced by variables and routines, which run in a predetermined manner and simulate specific situations. The dynamic parameters are determined in the beginning, before the computer starts calculating. Anomalies are only possible in the spectrum of the software. The protagonists cannot behave in any manner outside of that which the preset parameters allow.

The "Market and Mouse" system replaces the digital agents by mice. All system participants are represented by groups of mice, which contain different numbers of animals. Let these rodents surprise us with their unpredictable behaviour. Meanwhile we can investigate the dynamic in, and in between the different groups. Do the private investor mice behave differently from the bank mice? 
And if so, how?

The project was completed and exhibited during an artist-in-residence program at 
[http://www.opekta-ateliers.de/?q=de/gastatelier Opekta Ateliers Köln].

[http://www.stefanpach.de/public/Stefan-Pach-Markt-und-Maus.pdf Download the documentation (texts only in German).]

Adviser: Prof. [[Ursula Damm]], [[Dominique Hurth]], [[Lasse Scherffig]]

 
 

<videoflash type="vimeo">86072113|500|300</videoflash>
 

==[[Katharina Kraus]]==
''Bachelorarbeit Winter 2010/2011''
===Ich-Zeit-Raum===
[[File:0000000006-0000000006-0000000023.JPG|thumb|250px|Katharina Kraus: Ich-Zeit-Raum]]
[[File:0000000014-0000000019-0000000005-0000000023.JPG|thumb|250px|Katharina Kraus: Ich-Zeit-Raum]]
In digitalen fotografischen Differenzbildern zelebriere ich die Vielfalt von Gegenwart. 
Jedes Jetzt ist längst das Vorher vor dem folgenden Nun und dieses dann schon das Nachher, 
welches bereits wächst und eingreift: 
Da-vor - Da-für - Da-rauf - Da-hinter - Da-nach - Da-rüber - Da-gegen - Da-her . 
 
Ich will das Da begreifen und ich suchte es im - . 
In einem Bindestrich, der die Differenzen vereint. 
Ein Differenzbild deckt auf was sich verändert von Moment zu Moment. 
Mit jeder Differenzierung höheren Grades tritt hervor was noch besteht. 
 
Oberflächen werden durchgängig, Gesten + Gestern berühren sich. 
Wechselnde Kameraperspektiven vervielfachen durch ihre Deckung die Architektur. 
Ausblickende Augenblicke; ich stehe liege sitze schaue warte vor der Kamera im leeren Raum, 
beabsichtigte für mein virtuelles Gegenüber Figur und Fläche zu sein. 
Ich integriere Perfekt und Futur, Background und Bühne. 
 
Ich spielte vor der Kamera mit dem Raum und mit mir selbst, mental tastend, 
nur Wände und Böden boten materiellen Halt und Widerstand. 
Ich erstrebte den Dialog, der durch die Differenzen entstand. 
Widersprüche der Körper und Durchbrüche der Mauern. 
 
Vorschau und Durchsicht, teils Plan, teils Zufall, fügen und durchführen mich . 
Ich wiederholte mich im Bild. Und holte mich mit jedem neuen Bild ein, hervor, zurück. 
Die Differenz schafft Transportation und Transformation. 
Jedes Differenzbild ist eine Wandlung. Version und Immersion.

Ich gehe im Bild in den Raum ein und über. Verwese und verorte mich dort. DA. 
 
===time frame me===
In digital difference images I detect the diversity of presence and emergence. 
Just what alters from picture to picture turns up, 
but by further differentiations former facings recur. 
 
Interfaces get penetrable and gestures imprint their traces in place. 
My shapes converse in seeking stances, scanning for future sights. 
Changes of perspective extend the surface; interplays by body and space occur. 
 
Any difference is an aftermath, a sample, formation and performance: 
immersive coincidences of current condition and virtual versions.

 
[http://katharinakraus.de/bachelorarbeit/Ich-Zeit-Raum_RGB_Doppelseiten.pdf Ich-Zeit-Raum]
[http://www.vimeo.com/album/1560453 diaschauen]

Prüfer: Prof. [[Ursula Damm]], [[Bernhard Hopfengärtner|Bernhard Hopfengärtner]]
 

==[[Christoph Kilian]]: Tuchfühler==
[[Image:christoph kilian tuchfuehler kein kontakt.png|right|thumb|250px|Elektromechanische Einheit, kein Kontakt]]
[[Image:christoph kilian tuchfuehler seite.png|right|thumb|250px|Ein weiterer Betrachter]]
[[Image:christoph kilian tuchfuehler kontakt geschlossen.png|right|thumb|250px|Elektromechanische Einheit, Kontakt hergestellt]]
Von der Decke des Raumes hängt ein Tuch herab bis zum Boden. Bewegen sich Menschen im Raum, bewegt sich mit Ihnen auch die Luft, die sie umgibt. Das Tuch nimmt diese Bewegung auf.

Hinter dem Tuch gruppieren sich einige elektromechanische Einheiten. Die Einheiten verfügen über jeweils einen Motor, der einen dünnen Kohlefaserstab bewegt. Jeder Stab nähert sich zunächst behutsam dem Tuch. Dabei durchläuft er zwei elektrisch voneinander isolierte Stahlröhrchen. Berührt der Stab das Tuch, biegt es ihn leicht durch. Durch die Biegung verbindet er die beiden Stahlröhrchen und schließt somit einen internen Signalstromkreis. Der Stab weicht für einen Moment zurück.

Auch das Tuch verformt sich durch die Berührung. Sein Zurückweichen bewegt die umliegenden Einheiten zur weiteren Annäherung, und so zu einer stärkeren Ausbildung der anfänglichen Verformung. Der Versuch, die Position des Tuchs im Raum zu bestimmen, führt so zu einem fortwährenden Wechselspiel der Anwesenden.

<videoflash type="vimeo">13061710|400|300</videoflash>
 

==[[Jörg Brinkmann]]: Flugversuch ==
[[Image:Flugversuch joerg.jpg|right|thumb|250px|Jörg Brinkmann: ''Flugversuch'']]

[[Image:VON HINTEN.png|right|thumb|250px|Jörg Brinkmann: ''Flugversuch'']]

''Bachelorthesis der Professur '''[[GMU:Start|Gestaltung medialer Umgebungen]]''' Winter 2009''

This Experiment took its start from the intention to come closer to the machine. I wanted to figure out if there would be a different feeling when a machine is added to my body.

Would I myself become a machine ?

Would the machine become human ? Would the two of us band together and become something else ?

After some experiments with an ECG sensor, which I used for measuring my muscle tension, I got the idea of building mechanical wings that would be controlled by my muscle tension. This is a mechanism similar to the principle of a prosthesis. Since my project was not about replacing a missing body part (the usual function of a prosthesis) but rather about adding something to the body, the term prosthesis didn't work in this context. This project was also not about building something that would have a special function or serve an exact
purpose. So my intention was obviously not to take wing. This experiment was rather seen as a possibility to experience the machine.
The video shows this experience: as you can see, constant and measured body movements create a steady movement of the wings. So I have to conduct myself like a machine in order to achieve a synchronization. On the other hand, random movements let the machine break out and create an unpredictable life of its own.

Prüfer: Prof. [[Ursula Damm]], [[Max Neupert]]

<videoflash type"youtube">6JUGukoTRLI|430|270</videoflash>
 

==[[Moritz Wehrmann]]: ''… so schallt es heraus.''==
[[Image:Echo.jpg|right|thumb|250px|Moritz Wehrmann: ''… so schallt es heraus.'']]
[[Hört, Hört - Seht, Seht!#Moritz Wehrmann: … so schallt es heraus.]]
 

==[[Stratos Sifostratoudakis]]: Hinter dem Lid==
[[Image:ES HinterDemLid.jpg|right|thumb|250px|Hinter dem Lid]]

Eine Verbildlichung des Sehvorgangs durch historische Animationstechniken.

Das Ziel dieser Masterarbeit ist, den Vorgang der visuellen Wahrnehmung durch eine Funktionsbeschreibung des Auges autonom darzustellen. Dieser Titel wurde gewählt, weil er eine spannende Parallele zwischen der Funktion der Augenlider und der eines Bühnenvorhangs zieht. Beide verbergen etwas Rätselhaftes; eine Spiegelung der Welt.

„Hinter dem Lid“ ist eine Installation, die aus zwei an der Wand befestigten Kartonboxen besteht. Der erste Apparat ist eine Filmkiste, ähnlich zu der von „Glorious Technicolor“, mit der man das bewegte Bild eines Schmetterlings anschauen kann, indem man ein Getriebe aus Zahnrädern dreht. Der zweite Apparat, etwa 2m von dem ersten entfernt, zeigt diesen Schmetterling auf einer Blume, durch eine Animation, die einem Daumenkino ähnelt; die Einzelbilder sind Papierblätter, radial an eine Scheibe aus Pappe angebracht. Wenn ein Teilnehmer die erste Kiste benutzt, wird dieses Karussell durch einen Papierstreifen, der als Riemen dient und beide Apparate verbindet, in Drehung versetzt. Das Betrachten der Installation im Ganzen setzt also die Teilnahme von zwei Personen voraus.

* [http://www.flickr.com/photos/softlit/sets/72157608786591108/show/ Fotodokumentation]
<videoflash type="vimeo">2465952|500|300</videoflash>
 

==[[Nicole Weber]]: CUTOPHON - Ein Phonem-Instrument==
[[Image:NW Cutophon.jpg|right|thumb|250px|Cutophon - Ein Phonem-Instrument]]
Das Cutuphon ist als Instrument konzipiert – als Musikinstrument im weitesten Sinne. Die menschliche Stimme wird zum reproduzierbaren Ton. Das Cutuphon ermöglicht dem Benutzer, Laute aneinander zu reihen, die entweder ein bekanntes Wort formen oder als Lautfolge im Raum verklingen. Die Arbeit reflektiert die Strategien des Dadaismus und nutzt diese in einer zeitgemäßen Ausarbeitung.

* [[Hört, Hört - Seht, Seht!#Nicole Weber: Cutuphon]]
* [http://topotropic.de/cutuphon topotropic.de/cutuphon]

GMU:BFA MFA Finals

2015-10-02T10:01:35Z

Regina:

==[[Regina Reusch]]: Hörwinkel==
[[File:Horwinkel.png|right|thumb|200px|Hörwinkel]]
[[File:App Screenshot 01.png|right|thumb|200px|Audio Walk App]]

Ein interaktiver Audiowalk

Hörwinkel ist ein interaktiver Hörspaziergang, realisiert am Beispiel der Innenstadt von Köln. 
Der Hörspaziergang verbindet urbane Klangcollagen mit den Portraits zweier Protagonisten, die unterschiedlicher kaum sein könnten. Was sie teilen ist eine starke Verbindung zu derselben Umgebung. Was sie teilen ist eine starke Verbindung zu derselben Umgebung - der Kölner Innenstadt. 

Mit den Erzählungen der beiden Protagonisten auf den Ohren gehen wir durch die Stadt und lernen einen uns vielleicht bereits bekannten Ort neu kennen. Mithilfe einer eigens entwickelten App ändern sich die Erzählungen und Klänge je nachdem, welche Wege wir zu welcher Tageszeit gehen. Übergeordnet geht es somit um das Besondere im Alltäglichen, das eigentlich das Alltäglichste ist: Menschliche Begegnungen.

[https://vimeo.com/108117696 Videodokumentation]

Die "Audio Walk"-App kann für eigene Projekte genutzt werden. Sie ist über den
[https://play.google.com/store/apps/details?id=com.lhansing.audiowalk2&hl=de Google Play Store] frei verfügbar.

Prüfer: Thomas Hawranke, Mark Shepard, Ursula Damm

 
==[[Stefan Pach]]: Markt und Maus==
[[Image:Markt-und-Maus-1.jpg|right|thumb|250px|Private investor-mice]]
[[Image:Markt-und-Maus-2.jpg|right|thumb|250px|Bank mice]]
(Market and Mouse)

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

''Master’s thesis 2013''

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 operators decide if they have to choose between high risk but high value options and less lucrative possibilities. Another part of the research are the consequences for the other market participants. In "Market and Mouse" these are institutional investors and private investors.

In most cases system analysis works with specially designed software. All system protagonists are replaced by variables and routines, which run in a predetermined manner and simulate specific situations. The dynamic parameters are determined in the beginning, before the computer starts calculating. Anomalies are only possible in the spectrum of the software. The protagonists cannot behave in any manner outside of that which the preset parameters allow.

The "Market and Mouse" system replaces the digital agents by mice. All system participants are represented by groups of mice, which contain different numbers of animals. Let these rodents surprise us with their unpredictable behaviour. Meanwhile we can investigate the dynamic in, and in between the different groups. Do the private investor mice behave differently from the bank mice? 
And if so, how?

The project was completed and exhibited during an artist-in-residence program at 
[http://www.opekta-ateliers.de/?q=de/gastatelier Opekta Ateliers Köln].

[http://www.stefanpach.de/public/Stefan-Pach-Markt-und-Maus.pdf Download the documentation (texts only in German).]

Adviser: Prof. [[Ursula Damm]], [[Dominique Hurth]], [[Lasse Scherffig]]

 
 

<videoflash type="vimeo">86072113|500|300</videoflash>
 

==[[Katharina Kraus]]==
''Bachelorarbeit Winter 2010/2011''
===Ich-Zeit-Raum===
[[File:0000000006-0000000006-0000000023.JPG|thumb|250px|Katharina Kraus: Ich-Zeit-Raum]]
[[File:0000000014-0000000019-0000000005-0000000023.JPG|thumb|250px|Katharina Kraus: Ich-Zeit-Raum]]
In digitalen fotografischen Differenzbildern zelebriere ich die Vielfalt von Gegenwart. 
Jedes Jetzt ist längst das Vorher vor dem folgenden Nun und dieses dann schon das Nachher, 
welches bereits wächst und eingreift: 
Da-vor - Da-für - Da-rauf - Da-hinter - Da-nach - Da-rüber - Da-gegen - Da-her . 
 
Ich will das Da begreifen und ich suchte es im - . 
In einem Bindestrich, der die Differenzen vereint. 
Ein Differenzbild deckt auf was sich verändert von Moment zu Moment. 
Mit jeder Differenzierung höheren Grades tritt hervor was noch besteht. 
 
Oberflächen werden durchgängig, Gesten + Gestern berühren sich. 
Wechselnde Kameraperspektiven vervielfachen durch ihre Deckung die Architektur. 
Ausblickende Augenblicke; ich stehe liege sitze schaue warte vor der Kamera im leeren Raum, 
beabsichtigte für mein virtuelles Gegenüber Figur und Fläche zu sein. 
Ich integriere Perfekt und Futur, Background und Bühne. 
 
Ich spielte vor der Kamera mit dem Raum und mit mir selbst, mental tastend, 
nur Wände und Böden boten materiellen Halt und Widerstand. 
Ich erstrebte den Dialog, der durch die Differenzen entstand. 
Widersprüche der Körper und Durchbrüche der Mauern. 
 
Vorschau und Durchsicht, teils Plan, teils Zufall, fügen und durchführen mich . 
Ich wiederholte mich im Bild. Und holte mich mit jedem neuen Bild ein, hervor, zurück. 
Die Differenz schafft Transportation und Transformation. 
Jedes Differenzbild ist eine Wandlung. Version und Immersion.

Ich gehe im Bild in den Raum ein und über. Verwese und verorte mich dort. DA. 
 
===time frame me===
In digital difference images I detect the diversity of presence and emergence. 
Just what alters from picture to picture turns up, 
but by further differentiations former facings recur. 
 
Interfaces get penetrable and gestures imprint their traces in place. 
My shapes converse in seeking stances, scanning for future sights. 
Changes of perspective extend the surface; interplays by body and space occur. 
 
Any difference is an aftermath, a sample, formation and performance: 
immersive coincidences of current condition and virtual versions.

 
[http://katharinakraus.de/bachelorarbeit/Ich-Zeit-Raum_RGB_Doppelseiten.pdf Ich-Zeit-Raum]
[http://www.vimeo.com/album/1560453 diaschauen]

Prüfer: Prof. [[Ursula Damm]], [[Bernhard Hopfengärtner|Bernhard Hopfengärtner]]
 

==[[Christoph Kilian]]: Tuchfühler==
[[Image:christoph kilian tuchfuehler kein kontakt.png|right|thumb|250px|Elektromechanische Einheit, kein Kontakt]]
[[Image:christoph kilian tuchfuehler seite.png|right|thumb|250px|Ein weiterer Betrachter]]
[[Image:christoph kilian tuchfuehler kontakt geschlossen.png|right|thumb|250px|Elektromechanische Einheit, Kontakt hergestellt]]
Von der Decke des Raumes hängt ein Tuch herab bis zum Boden. Bewegen sich Menschen im Raum, bewegt sich mit Ihnen auch die Luft, die sie umgibt. Das Tuch nimmt diese Bewegung auf.

Hinter dem Tuch gruppieren sich einige elektromechanische Einheiten. Die Einheiten verfügen über jeweils einen Motor, der einen dünnen Kohlefaserstab bewegt. Jeder Stab nähert sich zunächst behutsam dem Tuch. Dabei durchläuft er zwei elektrisch voneinander isolierte Stahlröhrchen. Berührt der Stab das Tuch, biegt es ihn leicht durch. Durch die Biegung verbindet er die beiden Stahlröhrchen und schließt somit einen internen Signalstromkreis. Der Stab weicht für einen Moment zurück.

Auch das Tuch verformt sich durch die Berührung. Sein Zurückweichen bewegt die umliegenden Einheiten zur weiteren Annäherung, und so zu einer stärkeren Ausbildung der anfänglichen Verformung. Der Versuch, die Position des Tuchs im Raum zu bestimmen, führt so zu einem fortwährenden Wechselspiel der Anwesenden.

<videoflash type="vimeo">13061710|400|300</videoflash>
 

==[[Jörg Brinkmann]]: Flugversuch ==
[[Image:Flugversuch joerg.jpg|right|thumb|250px|Jörg Brinkmann: ''Flugversuch'']]

[[Image:VON HINTEN.png|right|thumb|250px|Jörg Brinkmann: ''Flugversuch'']]

''Bachelorthesis der Professur '''[[GMU:Start|Gestaltung medialer Umgebungen]]''' Winter 2009''

This Experiment took its start from the intention to come closer to the machine. I wanted to figure out if there would be a different feeling when a machine is added to my body.

Would I myself become a machine ?

Would the machine become human ? Would the two of us band together and become something else ?

After some experiments with an ECG sensor, which I used for measuring my muscle tension, I got the idea of building mechanical wings that would be controlled by my muscle tension. This is a mechanism similar to the principle of a prosthesis. Since my project was not about replacing a missing body part (the usual function of a prosthesis) but rather about adding something to the body, the term prosthesis didn't work in this context. This project was also not about building something that would have a special function or serve an exact
purpose. So my intention was obviously not to take wing. This experiment was rather seen as a possibility to experience the machine.
The video shows this experience: as you can see, constant and measured body movements create a steady movement of the wings. So I have to conduct myself like a machine in order to achieve a synchronization. On the other hand, random movements let the machine break out and create an unpredictable life of its own.

Prüfer: Prof. [[Ursula Damm]], [[Max Neupert]]

<videoflash type"youtube">6JUGukoTRLI|430|270</videoflash>
 

==[[Moritz Wehrmann]]: ''… so schallt es heraus.''==
[[Image:Echo.jpg|right|thumb|250px|Moritz Wehrmann: ''… so schallt es heraus.'']]
[[Hört, Hört - Seht, Seht!#Moritz Wehrmann: … so schallt es heraus.]]
 

==[[Stratos Sifostratoudakis]]: Hinter dem Lid==
[[Image:ES HinterDemLid.jpg|right|thumb|250px|Hinter dem Lid]]

Eine Verbildlichung des Sehvorgangs durch historische Animationstechniken.

Das Ziel dieser Masterarbeit ist, den Vorgang der visuellen Wahrnehmung durch eine Funktionsbeschreibung des Auges autonom darzustellen. Dieser Titel wurde gewählt, weil er eine spannende Parallele zwischen der Funktion der Augenlider und der eines Bühnenvorhangs zieht. Beide verbergen etwas Rätselhaftes; eine Spiegelung der Welt.

„Hinter dem Lid“ ist eine Installation, die aus zwei an der Wand befestigten Kartonboxen besteht. Der erste Apparat ist eine Filmkiste, ähnlich zu der von „Glorious Technicolor“, mit der man das bewegte Bild eines Schmetterlings anschauen kann, indem man ein Getriebe aus Zahnrädern dreht. Der zweite Apparat, etwa 2m von dem ersten entfernt, zeigt diesen Schmetterling auf einer Blume, durch eine Animation, die einem Daumenkino ähnelt; die Einzelbilder sind Papierblätter, radial an eine Scheibe aus Pappe angebracht. Wenn ein Teilnehmer die erste Kiste benutzt, wird dieses Karussell durch einen Papierstreifen, der als Riemen dient und beide Apparate verbindet, in Drehung versetzt. Das Betrachten der Installation im Ganzen setzt also die Teilnahme von zwei Personen voraus.

* [http://www.flickr.com/photos/softlit/sets/72157608786591108/show/ Fotodokumentation]
<videoflash type="vimeo">2465952|500|300</videoflash>
 

==[[Nicole Weber]]: CUTOPHON - Ein Phonem-Instrument==
[[Image:NW Cutophon.jpg|right|thumb|250px|Cutophon - Ein Phonem-Instrument]]
Das Cutuphon ist als Instrument konzipiert – als Musikinstrument im weitesten Sinne. Die menschliche Stimme wird zum reproduzierbaren Ton. Das Cutuphon ermöglicht dem Benutzer, Laute aneinander zu reihen, die entweder ein bekanntes Wort formen oder als Lautfolge im Raum verklingen. Die Arbeit reflektiert die Strategien des Dadaismus und nutzt diese in einer zeitgemäßen Ausarbeitung.

* [[Hört, Hört - Seht, Seht!#Nicole Weber: Cutuphon]]
* [http://topotropic.de/cutuphon topotropic.de/cutuphon]

GMU:BFA MFA Finals

2015-10-02T10:00:08Z

Regina:

==[[Regina Reusch]]: Hörwinkel==
[[File:Horwinkel.png|right|thumb|200px|Hörwinkel]]
[[File:App Screenshot 01.png|right|thumb|200px|Audio Walk App]]

Ein interaktiver Audiowalk

Hörwinkel ist ein interaktiver Hörspaziergang, realisiert am Beispiel der Innenstadt von Köln. 
Der Hörspaziergang verbindet urbane Klangcollagen mit den Portraits zweier Protagonisten, die unterschiedlicher kaum sein könnten. Was sie teilen ist eine starke Verbindung zu derselben Umgebung. Was sie teilen ist eine starke Verbindung zu derselben Umgebung - der Kölner Innenstadt. 

Mit den Erzählungen der beiden Protagonisten auf den Ohren gehen wir durch die Stadt und lernen einen uns vielleicht bereits bekannten Ort neu kennen. Mithilfe einer eigens entwickelten App ändern sich die Erzählungen und Klänge je nachdem, welche Wege wir zu welcher Tageszeit gehen. Übergeordnet geht es somit um das Besondere im Alltäglichen, das eigentlich das Alltäglichste ist: Menschliche Begegnungen.

[https://vimeo.com/108117696 Videodokumentation]

Die "Audio Walk"-App kann für eigene Projekte genutzt werden. Sie ist über den
[https://play.google.com/store/apps/details?id=com.lhansing.audiowalk2&hl=de Google Play Store] frei verfügbar.

Prüfer: Thomas Hawranke, Mark Shepard, Ursula Damm

==[[Stefan Pach]]: Markt und Maus==
[[Image:Markt-und-Maus-1.jpg|right|thumb|250px|Private investor-mice]]
[[Image:Markt-und-Maus-2.jpg|right|thumb|250px|Bank mice]]
(Market and Mouse)

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

''Master’s thesis 2013''

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 operators decide if they have to choose between high risk but high value options and less lucrative possibilities. Another part of the research are the consequences for the other market participants. In "Market and Mouse" these are institutional investors and private investors.

In most cases system analysis works with specially designed software. All system protagonists are replaced by variables and routines, which run in a predetermined manner and simulate specific situations. The dynamic parameters are determined in the beginning, before the computer starts calculating. Anomalies are only possible in the spectrum of the software. The protagonists cannot behave in any manner outside of that which the preset parameters allow.

The "Market and Mouse" system replaces the digital agents by mice. All system participants are represented by groups of mice, which contain different numbers of animals. Let these rodents surprise us with their unpredictable behaviour. Meanwhile we can investigate the dynamic in, and in between the different groups. Do the private investor mice behave differently from the bank mice? 
And if so, how?

The project was completed and exhibited during an artist-in-residence program at 
[http://www.opekta-ateliers.de/?q=de/gastatelier Opekta Ateliers Köln].

[http://www.stefanpach.de/public/Stefan-Pach-Markt-und-Maus.pdf Download the documentation (texts only in German).]

Adviser: Prof. [[Ursula Damm]], [[Dominique Hurth]], [[Lasse Scherffig]]

 
 

<videoflash type="vimeo">86072113|500|300</videoflash>

==[[Katharina Kraus]]==
''Bachelorarbeit Winter 2010/2011''
===Ich-Zeit-Raum===
[[File:0000000006-0000000006-0000000023.JPG|thumb|250px|Katharina Kraus: Ich-Zeit-Raum]]
[[File:0000000014-0000000019-0000000005-0000000023.JPG|thumb|250px|Katharina Kraus: Ich-Zeit-Raum]]
In digitalen fotografischen Differenzbildern zelebriere ich die Vielfalt von Gegenwart. 
Jedes Jetzt ist längst das Vorher vor dem folgenden Nun und dieses dann schon das Nachher, 
welches bereits wächst und eingreift: 
Da-vor - Da-für - Da-rauf - Da-hinter - Da-nach - Da-rüber - Da-gegen - Da-her . 
 
Ich will das Da begreifen und ich suchte es im - . 
In einem Bindestrich, der die Differenzen vereint. 
Ein Differenzbild deckt auf was sich verändert von Moment zu Moment. 
Mit jeder Differenzierung höheren Grades tritt hervor was noch besteht. 
 
Oberflächen werden durchgängig, Gesten + Gestern berühren sich. 
Wechselnde Kameraperspektiven vervielfachen durch ihre Deckung die Architektur. 
Ausblickende Augenblicke; ich stehe liege sitze schaue warte vor der Kamera im leeren Raum, 
beabsichtigte für mein virtuelles Gegenüber Figur und Fläche zu sein. 
Ich integriere Perfekt und Futur, Background und Bühne. 
 
Ich spielte vor der Kamera mit dem Raum und mit mir selbst, mental tastend, 
nur Wände und Böden boten materiellen Halt und Widerstand. 
Ich erstrebte den Dialog, der durch die Differenzen entstand. 
Widersprüche der Körper und Durchbrüche der Mauern. 
 
Vorschau und Durchsicht, teils Plan, teils Zufall, fügen und durchführen mich . 
Ich wiederholte mich im Bild. Und holte mich mit jedem neuen Bild ein, hervor, zurück. 
Die Differenz schafft Transportation und Transformation. 
Jedes Differenzbild ist eine Wandlung. Version und Immersion.

Ich gehe im Bild in den Raum ein und über. Verwese und verorte mich dort. DA. 
 
===time frame me===
In digital difference images I detect the diversity of presence and emergence. 
Just what alters from picture to picture turns up, 
but by further differentiations former facings recur. 
 
Interfaces get penetrable and gestures imprint their traces in place. 
My shapes converse in seeking stances, scanning for future sights. 
Changes of perspective extend the surface; interplays by body and space occur. 
 
Any difference is an aftermath, a sample, formation and performance: 
immersive coincidences of current condition and virtual versions.

 
[http://katharinakraus.de/bachelorarbeit/Ich-Zeit-Raum_RGB_Doppelseiten.pdf Ich-Zeit-Raum]
[http://www.vimeo.com/album/1560453 diaschauen]

Prüfer: Prof. [[Ursula Damm]], [[Bernhard Hopfengärtner|Bernhard Hopfengärtner]]
 

==[[Christoph Kilian]]: Tuchfühler==
[[Image:christoph kilian tuchfuehler kein kontakt.png|right|thumb|250px|Elektromechanische Einheit, kein Kontakt]]
[[Image:christoph kilian tuchfuehler seite.png|right|thumb|250px|Ein weiterer Betrachter]]
[[Image:christoph kilian tuchfuehler kontakt geschlossen.png|right|thumb|250px|Elektromechanische Einheit, Kontakt hergestellt]]
Von der Decke des Raumes hängt ein Tuch herab bis zum Boden. Bewegen sich Menschen im Raum, bewegt sich mit Ihnen auch die Luft, die sie umgibt. Das Tuch nimmt diese Bewegung auf.

Hinter dem Tuch gruppieren sich einige elektromechanische Einheiten. Die Einheiten verfügen über jeweils einen Motor, der einen dünnen Kohlefaserstab bewegt. Jeder Stab nähert sich zunächst behutsam dem Tuch. Dabei durchläuft er zwei elektrisch voneinander isolierte Stahlröhrchen. Berührt der Stab das Tuch, biegt es ihn leicht durch. Durch die Biegung verbindet er die beiden Stahlröhrchen und schließt somit einen internen Signalstromkreis. Der Stab weicht für einen Moment zurück.

Auch das Tuch verformt sich durch die Berührung. Sein Zurückweichen bewegt die umliegenden Einheiten zur weiteren Annäherung, und so zu einer stärkeren Ausbildung der anfänglichen Verformung. Der Versuch, die Position des Tuchs im Raum zu bestimmen, führt so zu einem fortwährenden Wechselspiel der Anwesenden.

<videoflash type="vimeo">13061710|400|300</videoflash>
 

==[[Jörg Brinkmann]]: Flugversuch ==
[[Image:Flugversuch joerg.jpg|right|thumb|250px|Jörg Brinkmann: ''Flugversuch'']]

[[Image:VON HINTEN.png|right|thumb|250px|Jörg Brinkmann: ''Flugversuch'']]

''Bachelorthesis der Professur '''[[GMU:Start|Gestaltung medialer Umgebungen]]''' Winter 2009''

This Experiment took its start from the intention to come closer to the machine. I wanted to figure out if there would be a different feeling when a machine is added to my body.

Would I myself become a machine ?

Would the machine become human ? Would the two of us band together and become something else ?

After some experiments with an ECG sensor, which I used for measuring my muscle tension, I got the idea of building mechanical wings that would be controlled by my muscle tension. This is a mechanism similar to the principle of a prosthesis. Since my project was not about replacing a missing body part (the usual function of a prosthesis) but rather about adding something to the body, the term prosthesis didn't work in this context. This project was also not about building something that would have a special function or serve an exact
purpose. So my intention was obviously not to take wing. This experiment was rather seen as a possibility to experience the machine.
The video shows this experience: as you can see, constant and measured body movements create a steady movement of the wings. So I have to conduct myself like a machine in order to achieve a synchronization. On the other hand, random movements let the machine break out and create an unpredictable life of its own.

Prüfer: Prof. [[Ursula Damm]], [[Max Neupert]]

<videoflash type"youtube">6JUGukoTRLI|430|270</videoflash>
 

==[[Moritz Wehrmann]]: ''… so schallt es heraus.''==
[[Image:Echo.jpg|right|thumb|250px|Moritz Wehrmann: ''… so schallt es heraus.'']]
[[Hört, Hört - Seht, Seht!#Moritz Wehrmann: … so schallt es heraus.]]
 

==[[Stratos Sifostratoudakis]]: Hinter dem Lid==
[[Image:ES HinterDemLid.jpg|right|thumb|250px|Hinter dem Lid]]

Eine Verbildlichung des Sehvorgangs durch historische Animationstechniken.

Das Ziel dieser Masterarbeit ist, den Vorgang der visuellen Wahrnehmung durch eine Funktionsbeschreibung des Auges autonom darzustellen. Dieser Titel wurde gewählt, weil er eine spannende Parallele zwischen der Funktion der Augenlider und der eines Bühnenvorhangs zieht. Beide verbergen etwas Rätselhaftes; eine Spiegelung der Welt.

„Hinter dem Lid“ ist eine Installation, die aus zwei an der Wand befestigten Kartonboxen besteht. Der erste Apparat ist eine Filmkiste, ähnlich zu der von „Glorious Technicolor“, mit der man das bewegte Bild eines Schmetterlings anschauen kann, indem man ein Getriebe aus Zahnrädern dreht. Der zweite Apparat, etwa 2m von dem ersten entfernt, zeigt diesen Schmetterling auf einer Blume, durch eine Animation, die einem Daumenkino ähnelt; die Einzelbilder sind Papierblätter, radial an eine Scheibe aus Pappe angebracht. Wenn ein Teilnehmer die erste Kiste benutzt, wird dieses Karussell durch einen Papierstreifen, der als Riemen dient und beide Apparate verbindet, in Drehung versetzt. Das Betrachten der Installation im Ganzen setzt also die Teilnahme von zwei Personen voraus.

* [http://www.flickr.com/photos/softlit/sets/72157608786591108/show/ Fotodokumentation]
<videoflash type="vimeo">2465952|500|300</videoflash>
 

==[[Nicole Weber]]: CUTOPHON - Ein Phonem-Instrument==
[[Image:NW Cutophon.jpg|right|thumb|250px|Cutophon - Ein Phonem-Instrument]]
Das Cutuphon ist als Instrument konzipiert – als Musikinstrument im weitesten Sinne. Die menschliche Stimme wird zum reproduzierbaren Ton. Das Cutuphon ermöglicht dem Benutzer, Laute aneinander zu reihen, die entweder ein bekanntes Wort formen oder als Lautfolge im Raum verklingen. Die Arbeit reflektiert die Strategien des Dadaismus und nutzt diese in einer zeitgemäßen Ausarbeitung.

* [[Hört, Hört - Seht, Seht!#Nicole Weber: Cutuphon]]
* [http://topotropic.de/cutuphon topotropic.de/cutuphon]

File:Horwinkel.png

2015-09-30T21:16:27Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Howerwinkel Start 1000.jpg

2015-09-30T21:12:14Z

Regina: uploaded a new version of "File:Howerwinkel Start 1000.jpg"

== Summary ==

== Copyright status: ==

== Source: ==

File:App Screenshot 01.png

2015-09-30T21:10:27Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Howerwinkel Start 1000.jpg

2015-09-30T21:08:25Z

Regina:

== Summary ==

== Copyright status: ==

== Source: ==

User:Regina

2013-11-10T19:49:11Z

Regina: /* Komplementär */

== ''' Komplementär ''' ==

Komplementär ist die visuelle Interpretation von dem gleichnamigen Musikstück der Komponistin Su Lee, das im Rahmen ihres Diplomkonzerts aufgeführt wurde.

Bei der Produktion wollte ich bewusst auf vorgefertigtes Videomaterial oder VJ-Softwares verzichten, deren Nutzeroberflächen nur einen beschränkten Einblick und Eingriff in dahinter liegenden Rechenprozesse zulassen. Stattdessen sollten die musikalischen Parameter im Zusammenspiel von algorithmischen Vorgaben und Zufällen in ihre äquivalenten Bilder übersetzt werden. So ist es außerdem möglich die Audiovisualisierung live und interaktiv zu generieren.

Hier ist die Entwicklung vom ersten Prototyp zu einem der finalen Patches in Max/Jitter zu sehen.

[[File:Patches.jpg|center|700px]]

Eine Auswahl von Videos die während der Bildexperimente entstanden.

[[File:Collage klein.jpg‎|700px]]

<videoflash type=vimeo>62744357|670|383</videoflash>

=== Das Finale Video ===
Wie der Titel „Komplementär“ bereits beschreibt, spielt die Komposition mit gegensätzlichen Elementen, die sich aber in ihrer Gesamtheit ergänzen. Das Wechselspiel zeigt sich unter anderem in der Spielweise der rechten und linken Hand, dem Schlagen von Akkorden im Kontrast zu langen chromatischen Linien, in der Struktur, sowie dem Spiel mit Klangfarben, wenn sich Geräusche den „gewohnten“ Klavierklängen entgegen setzen.
Das Stück lässt sich in vier verschiedene Abschnitte einteilen, die sich im Laufe des Stückes steigern. Die Visuals versuchen diese wie auch die konzeptionellen Entwicklungen durch die Bild- und Farbdynamik widerzuspiegeln. Klare, kreisrunde Figuren verformen sich mit markanten, eckigen Formen.

<videoflash type=vimeo>67651960|670|383</videoflash>
Wegen Performanceproblemen des Rechners ist das hier sichtbare Video kein Echtzeitrendering und wurde aus verschiedenen Videofiles in Premiere nachbearbeitet.

User:Regina

2013-11-10T19:48:41Z

Regina: /* Komplementär */

== ''' Komplementär ''' ==

Komplementär ist die visuelle Interpretation von dem gleichnamigen Musikstück der Komponistin Su Lee, das im Rahmen ihres Diplomkonzerts aufgeführt wurde.
Bei der Produktion wollte ich bewusst auf vorgefertigtes Videomaterial oder VJ-Softwares verzichten, deren Nutzeroberflächen nur einen beschränkten Einblick und Eingriff in dahinter liegenden Rechenprozesse zulassen. Stattdessen sollten die musikalischen Parameter im Zusammenspiel von algorithmischen Vorgaben und Zufällen in ihre äquivalenten Bilder übersetzt werden. So ist es außerdem möglich die Audiovisualisierung live und interaktiv zu generieren.

Hier ist die Entwicklung vom ersten Prototyp zu einem der finalen Patches in Max/Jitter zu sehen.

[[File:Patches.jpg|center|700px]]

Eine Auswahl von Videos die während der Bildexperimente entstanden.

[[File:Collage klein.jpg‎|700px]]

<videoflash type=vimeo>62744357|670|383</videoflash>

=== Das Finale Video ===
Wie der Titel „Komplementär“ bereits beschreibt, spielt die Komposition mit gegensätzlichen Elementen, die sich aber in ihrer Gesamtheit ergänzen. Das Wechselspiel zeigt sich unter anderem in der Spielweise der rechten und linken Hand, dem Schlagen von Akkorden im Kontrast zu langen chromatischen Linien, in der Struktur, sowie dem Spiel mit Klangfarben, wenn sich Geräusche den „gewohnten“ Klavierklängen entgegen setzen.
Das Stück lässt sich in vier verschiedene Abschnitte einteilen, die sich im Laufe des Stückes steigern. Die Visuals versuchen diese wie auch die konzeptionellen Entwicklungen durch die Bild- und Farbdynamik widerzuspiegeln. Klare, kreisrunde Figuren verformen sich mit markanten, eckigen Formen.

<videoflash type=vimeo>67651960|670|383</videoflash>
Wegen Performanceproblemen des Rechners ist das hier sichtbare Video kein Echtzeitrendering und wurde aus verschiedenen Videofiles in Premiere nachbearbeitet.

User:Regina

2013-11-10T19:38:10Z

Regina: /* Das Finale Video */

== ''' Komplementär ''' ==

Komplementär ist die visuelle Interpretation von dem gleichnamigen Musikstück der Komponistin Su Lee.
Bei der Produktion wollte ich bewusst auf vorgefertigtes Videomaterial oder VJ-Softwares verzichten, deren Nutzeroberflächen nur einen beschränkten Einblick und Eingriff in die dahinter liegenden Rechenprozesse zulassen. Stattdessen sollten die musikalischen Parameter im Zusammenspiel von algorithmischen Vorgaben und Zufällen in ihre äquivalenten Bilder übersetzt werden. So ist es außerdem möglich die Audiovisualisierung live und interaktiv zu generieren.

Hier ist die Entwicklung vom ersten Prototyp zu einem der finalen Patches in Max/Jitter zu sehen.

[[File:Patches.jpg|center|700px]]

Eine Auswahl von Videos die während der Bildexperimente entstanden.

[[File:Collage klein.jpg‎|700px]]

<videoflash type=vimeo>62744357|670|383</videoflash>

=== Das Finale Video ===
Wie der Titel „Komplementär“ bereits beschreibt, spielt die Komposition mit gegensätzlichen Elementen, die sich aber in ihrer Gesamtheit ergänzen. Das Wechselspiel zeigt sich unter anderem in der Spielweise der rechten und linken Hand, dem Schlagen von Akkorden im Kontrast zu langen chromatischen Linien, in der Struktur, sowie dem Spiel mit Klangfarben, wenn sich Geräusche den „gewohnten“ Klavierklängen entgegen setzen.
Das Stück lässt sich in vier verschiedene Abschnitte einteilen, die sich im Laufe des Stückes steigern. Die Visuals versuchen diese wie auch die konzeptionellen Entwicklungen durch die Bild- und Farbdynamik widerzuspiegeln. Klare, kreisrunde Figuren verformen sich mit markanten, eckigen Formen.

<videoflash type=vimeo>67651960|670|383</videoflash>
Wegen Performanceproblemen des Rechners ist das hier sichtbare Video kein Echtzeitrendering und wurde aus verschiedenen Videofiles in Premiere nachbearbeitet.

User:Regina

2013-11-10T19:25:35Z

Regina: /* Das Finale Video */

== ''' Komplementär ''' ==

Komplementär ist die visuelle Interpretation von dem gleichnamigen Musikstück der Komponistin Su Lee.
Bei der Produktion wollte ich bewusst auf vorgefertigtes Videomaterial oder VJ-Softwares verzichten, deren Nutzeroberflächen nur einen beschränkten Einblick und Eingriff in die dahinter liegenden Rechenprozesse zulassen. Stattdessen sollten die musikalischen Parameter im Zusammenspiel von algorithmischen Vorgaben und Zufällen in ihre äquivalenten Bilder übersetzt werden. So ist es außerdem möglich die Audiovisualisierung live und interaktiv zu generieren.

Hier ist die Entwicklung vom ersten Prototyp zu einem der finalen Patches in Max/Jitter zu sehen.

[[File:Patches.jpg|center|700px]]

Eine Auswahl von Videos die während der Bildexperimente entstanden.

[[File:Collage klein.jpg‎|700px]]

<videoflash type=vimeo>62744357|670|383</videoflash>

=== Das Finale Video ===
Wie der Titel „Komplementär“ bereits beschreibt, spielt die Komposition mit gegensätzlichen Elementen, die sich aber in ihrer Gesamtheit ergänzen. Das Wechselspiel zeigt sich unter anderem in der Spielweise der rechten und linken Hand, dem Schlagen von Akkorden im Kontrast zu langen chromatischen Linien, in der Struktur, sowie dem Spiel mit Klangfarben, wenn sich Geräusche den „gewohnten“ Klavierklängen entgegen setzen.
Das Stück lässt sich in vier verschiedene Abschnitte einteilen, die sich im Laufe des Stückes steigern. Die Visuals versuchen diese wie auch die konzeptionellen Entwicklungen durch die Bild- und Farbdynamik widerzuspiegeln. Klare, kreisrunde Figuren verformen sich mit markanten, eckigen Formen.

<videoflash type=vimeo>67651960|670|383</videoflash>
Wegen Performanceproblemen des Rechners ist das hier sichtbare Video kein Echtzeitrenderings und wurde aus verschiedenen Videofiles in Premiere nachbearbeitet.

User:Regina

2013-11-10T19:23:53Z

Regina: Created page with "== ''' Komplementär ''' == Komplementär ist die visuelle Interpretation von dem gleichnamigen Musikstück der Komponistin Su Lee. Bei der Produktion wollte ich bewusst auf vor..."

== ''' Komplementär ''' ==

Komplementär ist die visuelle Interpretation von dem gleichnamigen Musikstück der Komponistin Su Lee.
Bei der Produktion wollte ich bewusst auf vorgefertigtes Videomaterial oder VJ-Softwares verzichten, deren Nutzeroberflächen nur einen beschränkten Einblick und Eingriff in die dahinter liegenden Rechenprozesse zulassen. Stattdessen sollten die musikalischen Parameter im Zusammenspiel von algorithmischen Vorgaben und Zufällen in ihre äquivalenten Bilder übersetzt werden. So ist es außerdem möglich die Audiovisualisierung live und interaktiv zu generieren.

Hier ist die Entwicklung vom ersten Prototyp zu einem der finalen Patches in Max/Jitter zu sehen.

[[File:Patches.jpg|center|700px]]

Eine Auswahl von Videos die während der Bildexperimente entstanden.

[[File:Collage klein.jpg‎|700px]]

<videoflash type=vimeo>62744357|670|383</videoflash>

=== Das Finale Video ===
Wie der Titel „Komplementär“ bereits beschreibt, spielt die Komposition mit gegensätzlichen Elementen, die sich aber in ihrer Gesamtheit ergänzen. Das Wechselspiel zeigt sich unter anderem in der Spielweise der rechten und linken Hand, dem Schlagen von Akkorden im Kontrast zu langen chromatischen Linien, in der Struktur, sowie dem Spiel mit Klangfarben, wenn sich Geräusche den „gewohnten“ Klavierklängen entgegen setzen.
Das Stück lässt sich in vier verschiedene Abschnitte einteilen, die sich im Laufe des Stückes steigern. Die Visuals versuchen diese wie auch die konzeptionellen Entwicklungen durch die Bild- und Farbdynamik widerzuspiegeln. Klare, kreisrunde Figuren verformen sich mit markanten, eckigen Formen.

Wegen Performanceproblemen des Rechners ist das hier sichtbare Video kein Echtzeitrenderings und wurde aus verschiedenen Videofiles in Premiere nachbearbeitet.
<videoflash type=vimeo>67651960|670|383</videoflash>

File:Patches.jpg

2013-11-10T18:51:53Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:WeiterentwickelterPatch.jpg

2013-11-10T18:48:14Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:1. patch klein.jpg

2013-11-10T18:47:33Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Collage klein.jpg

2013-11-10T18:39:38Z

Regina: uploaded a new version of "File:Collage klein.jpg"

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Collage klein.jpg

2013-11-10T18:32:38Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

GMU:Istanbul/videosynthesis - playing a film

2013-05-09T11:39:56Z

Regina: /* The Video Installation */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
Can you remeber playing a game when nothing more is lying around than a sheet of paper and a pen? You start to write down a sentence or you draw some elements on the sheet. You fold the paper so that the others are only be able to read a snippet of what you've written. You pass it on to the next person who repeats the schema... and after some rounds you have a surreal, funny story or painting.

How would it be like if this playfully method would be used to discover an urban environment by transfering it to the medium of video and the web? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

[[File:AppScribble.jpg‎|thumb|1. AppScribble]]

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to one surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as a city and in this case Istanbul - is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my 4. Experiment I decided to give the filmmakers individual short instructions which changed from video to video. One instruction was to integrate a place into the video which had a special meaning for the filmmaker. The results of the submitted videos led to another video work which searches for emotional relations between people and their special places.

===2. A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The overall majority of the videos showed quiet, steady places. Therefore a patch was developed within Max MSP/Jitter which reflects the impression through a video installation.

===Video Installation===
A camera captures the movement of an observer. Only when the viewer stands calm in front of the installation, the video is shown at normal playback speed, otherwise the videos jump wildly between randomly selected frames. The viewer is forced to remain still in order to watch the videos undisturbed.

<videoflash type=vimeo>61548141|437|250</videoflash>

<gallery>
File:video1.jpg|1
File:video2.jpg|2
File:video3.jpg|3
File:video4.jpg|4
File:video5.jpg|5
File:video6.jpg|6
File:video7.jpg|7
File:video8.jpg|8
File:video9.jpg|9
File:video10.jpg|10
File:video11.jpg|11
File:video12.jpg|12
</gallery>

GMU:Istanbul

2013-05-09T10:10:12Z

Regina: /* Projects */

'''Das Projekt Istanbul beinhaltet ein Projekt, ein wissenschaftliches Modul entweder ein Fach oder ein Werkmodul. Wer sich für das Projekt inclusive der Exkursion im Juli entscheidet kann keine anderen Kurse mehr besuchen. Montag und Dienstag sind komplett für die Kurse einzuplanen, der Rest der Woche ist für die eigene Arbeit reserviert.'''

Beschreibung des Projektmoduls:

[[:Category:Projektmodul|Projektmodul]] 
''Lehrperson:'' [[Ursula Damm]] 
''Bewertung:'' 18 [[ECTS]], 6 [[SWS]] 
''Termin:'' Dienstag, 15:15 bis 18:30 Uhr 
''Ort:'' [[Marienstraße 7b]], Raum 204 
''Erster Termin:'' t.b.a.

===English description===
Through the project we aim to explore interactive practices and media formats, that are suitable to shape common experiences in public space.
In contrast to the one-way communication of mass media spectacles we aim to explore processes that allow different types of participation. On a concrete level we aim to experiment with a range of sensor modules, for example the citizen sensor (http://citizensensor.cc/) as well as "perception devices"‚ that employ multiple sensors and cameras, sensors for animals in public space, video and photo traps, video mapping and so on.
The project will be commonly prepared by students of Urban Development and
students of Media Art and Design. During the first part of the semester we will be working towards a two-week study trip to Istanbul. On-site the students from Weimar will collaborate with local students from Istanbul in groups of two or three.
Each group will develop and execute their own project idea within a more general assignment.

== Beschreibung ==
Kunst hat eine große Bedeutung für die Selbstdarstellung und Selbstwahrnehmung einer Gesellschaft. Traditionelle Kunst-Praktiken jedoch finden in ausgewählten Institutionen, besseren Stadtvierteln und meist auch vor und mit einer exklusiven gesellschaftlichen Schicht statt. Medien und ihre Methoden lösen diese historisch gewachsenen Verbünde und ermöglichen Kommunikation jenseits von festgelegten Orten, jenseits einer beschränkten Adressatenschaft. Mediale Praktiken werden verhandelt über neue Kanäle, sie definieren sich in einem Zusammenspiel von Künstler und Publikum.

Istanbul ist wie keine andere Stadt geprägt ist von komplexen historischen Bedingungen. Innerhalb dieser steingewordenen Fakten lebt sie die ständige Bewältigung ethnischer wie sozialer Unterschiede. Istanbul verbindet nicht nur Europa und Asien, auch für die Verständigung zwischen uns und der Arabischen Welt wird der Stadt eine Schlüsselrolle zugeschrieben.

Neben dieser sozio-politischen Komplexität hat sich Istanbul spätestens als Kulturhauptstadt Europas in der zeitgenössischen Kunstszene etabliert. All dies macht Istanbul attraktiv für mediale Experimente und Untersuchungen im öffentlichen Raum.

Im Projekt möchten wir interaktiven Praktiken und mediale Formate erproben, die geeignet sind, das gemeinsame Erleben im öffentlichen Raum zu gestalten. Anders als bei massenmedialen Spektakeln und deren einseitiger Kommunikation sollen Verfahren getestet werden, die unterschiedliche Formen der Partizipation ermöglichen.
Solche Praktiken basieren auf Sensormodulen wie z.B. der [http://citizensensor.cc Citizensensor], kombinierte Wahrnehmnungsapparate aus mehreren Sensoren und Kameras, Sensoren für Stadttiere, Video- oder Fotofallen, reaktive und interaktive Formen des Videomapping etc.
Das Projekt wird gemeinsam von Studierenden der Urbanistik zusammen mit Studierenden der Medienkunst/Mediengestaltung in Weimar vorbereitet.
In einem zweiwöchigen Studienaufenthalt in Istanbul sollen jeweils zwischen türkischen und deutschen Studierenden Zweier - oder Dreier-Arbeitsgruppen gebildet werden. Diese einigen sich auf ein eigenständiges Vorhaben im Rahmen des Gesamtprojektes.

=== Wissentschaftliches Modul ===
Das verpflichtende wissentschaftliche Modul ''Understanding Istanbul'' bei Prof Eckhard findet Montags 17:00 – 18:30 in der Geschwister-Scholl-Str. 8a (Hauptgebäude) in Raum 105 statt.
==== Topics/Syllabus ====
* April 30th: Urban governance/planning
* May 7th: Migrants, informal economy
* May 14th: Urban poverty, housing
* May 21th: Ismaic city, gender
* May 28th: cultural identiy
* June 4th: design shops / gentification
* June 11th: Gloablisation / Urban protest
* June 15-27th: Excursion to İstanbul
** [[/Excursion|Schedule for the excursion]]
** [[/Images/]]
* June 25th: Debriefing and evaluation
* July 12th to 15th: [[/Summaery/]]

==== Files ====
* [https://www.dropbox.com/home/%C4%B0stanbul%20GMU Dropbox]

=== Werk- und Fachmodul ===
Undergraduates schreiben sich bitte für das Wekmodul, Graudates für das Fachmodul ein. Beide Module finden immer Dienstags 9:15-12:30 statt.
* Werkmodul: [[GMU:I, Sensor]] Max Neupert, Bernhard Hopfengärtner, Gunnar Green
* Fachmodul: [[GMU:The Device is not the Territory]] Max Neupert, Bernhard Hopfengärtner, Gunnar Green

==Leistungsnachweis==
Aktive Teilnahme, Präsentation, künstlerische Prüfung, Dokumentation, Eintrag im Wiki.

==Zielgruppe==
Studierende der Fakultäten Medien, Gestaltung und des Studiengangs Medienarchitektur

==Mailinglist==
You should be subscribed to our Mailinglist to receive updates and be part of the discussion.
* [https://mg.medien.uni-weimar.de/mailman/listinfo/istanbul Mailinglist for this class]

==Projects==
*[[/Cramped Conditions/]], [[Eva Thinius]]
*[[/EHH? the game/]], Jorgelina Garcia
*[[/Asymmetrical Patterns/]], Myrsini Aristidou / Filippo Mattia Dobrovich
*[[/WALKING IN ISTANBUL /]], Lu Jin
*[[/Guess who/]], [[Alva Gamula]]
*[[/Horizon/]], Raphael Kittell
*[[/Little Big Places/]], Estel Martínez / Leonardo Cannizzo
*[[/city faces/]], Júlia Palao and Sebastian Prince
*[[/videosynthesis - playing a film/]], Regina Reusch
*[[/Mixed city/]], Günışığı Cihangir
*[[/Everyday life choreographies/]], Mandy Unger

== Literatur und Film ==
* [http://www.uni-weimar.de/cms/universitaet/zentrale-einrichtungen/universitaetsbibliothek/recherche/semesterapparate/semesterapparate-medien/neu-medien-semesterapparate/ms-2012-21.html Semesterapparat]

=== Fachliteratur ===
* Deniz Göturk, Levent Soysal, Ipek Türeli: Orienting Istanbul: Cultural Capital of Europe? ISBN 978-0415580113
* Frank Eckardt, Kathrin Wildner: Public Istanbul: Spaces and Spheres of the Urban ISBN 978-3899428650
* Frank Eckardt: Die komplexe Stadt: Orientierungen im urbanen Labyrinth ISBN 978-3-531-16507-3
* Deniz Götktürk, Levent Soysal aud Ipek Türeli: Orienting Istanbul – Cultural Capital of Europe? ISBN 9780515580113
* Antje Feger, Benjamin F Stumpf: Public Idea Artistic Approaches to the Urban Sphere of Istanbul ISBN 9-783868-951479
* Christoph Bürkle: Istanbul: hippe Stadt am Horn ISBN 3-03-717019-0
* Berliner Atlas paradoxaler Mobilität: ISBN 978-3-88396-304-4
* William H. Whyte, The social life of small urban spaces, 1980 [https://vimeo.com/6821934 Video]
* Simon Sadler, The Situationist City, ISBN 0262692252
* Kazys Varnelis Hg., Networked Publics, ISBN 0262220857
* Kazys Varnelis, Blue Monday, Stories of Absurd Realities and Natural Philosophies, ISBN 8496540537

===Romane===
* Orhan Pamuk: Istanbul. Erinnerungen an eine Stadt ISBN 978-3446208261
* Orhan Pamuk: Rot ist mein Name ISBN 978-3596156603
* Esmahan Aykol: Hotel Bosporus. ISBN 978-3257234435
* Mario Levi: Istanbul war ein Märchen ISBN 978-3518461372
* Unser Istanbul: Junge türkische Literatur, Constanze Letsch [Herausgeberin] ISBN 978-3833305573

===Filme===
* [[wikipedia:de:Crossing The Bridge – The Sound of Istanbul|Crossing the Bridge – The Sound of Istanbul (İstanbul Hatırası – Köprüyü Geçmek)]]
* [[wikipedia:Istanbul Tales|Istanbul Tales]] [http://www.anlatistanbul.com/german/default.asp A nlat İstanbul (Istanbul Tales)]
* [[wikipedia:A Touch of Spice|Bir Tutam Baharat (A Touch of Spice)]]
* [http://film.iksv.org/en/film/79 Unutma beni Istanbul (Do not forget me Istanbul)]
* [http://film.iksv.org/en/film/80 Haliç, Altın Boynuz (Haliç Golden Horn)]
* [http://film.iksv.org/en/film/81 İstanbul’da Aşk (Love in Istanbul) ]
* [[wikipedia:Uzak|Uzak (Distant)]]
* [[wikipedia:Hamam (film)|Hamam]]
* [[wikipedia:Istanbul Beneath My Wings|İstanbul Kanatlarımın Altında (Istanbul beneath my wings)]]
* [http://www.10to11.com 11’e 10 kala (10 to 11)]

==Links==
* [[wikipedia:Istanbul]]
* [[wikipedia:de:Istanbul]]
* [[Walks]] Audio and Video walks
* [http://www.zeit.de/themen/reisen/cityguide-istanbul/index THEMENPORTAL ZEIT-ONLINE: City Guide Istanbul]
* [http://www.perlentaucher.de/ptautoren/1/1.html Constanze Letsch. Post aus Istanbul.]
* [http://senseable.mit.edu/ senseable city lab]

===Istanbul===
* [http://www.ekumenopolis.net Documentary about the urbanization of Istanbul]

=== Künstlerpositionen zum Thema Stadt ===
* [http://web.mit.edu/vap/people/faculty/faculty_wodiczko.html Krzysztof Wodiczko]
* [http://www.yolandeharris.net Yolande Harris]
* [http://www.ubermatic.org Michelle Teran]
* [http://mileschalcraft.net Miles Chalcraft]
* [http://michaelrakowitz.com/ Michael Rakowitz]
* [[wikipedia:de:Walid Raad|Walid Raad]]
* [http://www.ft-contemporary.com/artists/dionisiogonzlez Dionisio Gonzalez]
* [http://www.lozano-hemmer.com Rafael Lozano-Hemmer]
* [http://www.willembesselink.nl/read/kiezwege_berlin?submenu=4255 Willem Besselink]
* [http://www.raumlabor.net/ Raumlabor]
* [http://www.andinc.org/v3/ Mark Shepard]
* [http://www.blasttheory.co.uk/bt/index.php Blast Theory]
* [http://burak-arikan.com/ Burak Arikan]

=== Architektonische Utopien zur Stadt ===
* [http://archigram.westminster.ac.uk/project.php?id=56 Archigrams plug-in city]
* [http://www.medienkunstnetz.de/artist/archizoom/biography Archizoom]
* [http://iasl.uni-muenchen.de/links/GCA-II.3.html#Seek Architecture Machine v. N. Negroponte]

=== aktuelle künstlerische Aktivitäten ===
* [http://vimeo.com/antivj/videos AntiVJ]
* [http://www.urbanscreen.com Urban screen]
* [http://www.rimini-protokoll.de/website/en/index.php Rimini Protokoll]
* [http://2009.paraflows.at/index.php?id=121&L=iBZzQin2 Urban Hacking 2009]
* [http://www.hacking-the-city.org/ Hacking the City]
* [http://www.ted.com/talks/charlie_todd_the_shared_experience_of_absurdity.html Charlie Todd]
* [https://vimeo.com/20412632 Timo Arnall]
* [http://www.sentientcity.net/exhibit/?p=5 Amphibious Architecture]

=== Kunsttheorie ===
* [http://dreher.netzliteratur.net/1_Aktions-u.Konzeptkunst.html Aktions- und Konzeptkunst]
* [http://www.emotionalcartography.net Emotionalcartography]

== Map ==
{{
#display_map:
Istanbul, Turkey
| service=openlayers
| layers=osm-mapnik,osmarender,osm-cyclemap,osm-oepnv,bing
}}

GMU:Istanbul/videosynthesis - playing a film

2013-05-08T08:50:36Z

Regina: /* The Video Installation */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
Can you remeber playing a game when nothing more is lying around than a sheet of paper and a pen? You start to write down a sentence or you draw some elements on the sheet. You fold the paper so that the others are only be able to read a snippet of what you've written. You pass it on to the next person who repeats the schema... and after some rounds you have a surreal, funny story or painting.

How would it be like if this playfully method would be used to discover an urban environment by transfering it to the medium of video and the web? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

[[File:AppScribble.jpg‎|thumb|1. AppScribble]]

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to one surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as a city and in this case Istanbul - is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my 4. Experiment I decided to give the filmmakers individual short instructions which changed from video to video. One instruction was to integrate a place into the video which had a special meaning for the filmmaker. The results of the submitted videos led to another video work which searches for emotional relations between people and their special places.

===2. A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The overall majority of the videos showed quiet, steady places. Therefore a patch was developed within Max MSP/Jitter which reflects the impression through a video installation.

===The Video Installation===
A camera captures the movement of an observer. Only when the viewer stands calm in front of the installation, the video is shown at normal playback speed, otherwise the videos jump wildly between randomly selected frames. The viewer is forced to remain still in order to watch the videos undisturbed.

<videoflash type=vimeo>61548141|437|250</videoflash>

<gallery>
File:video1.jpg|1
File:video2.jpg|2
File:video3.jpg|3
File:video4.jpg|4
File:video5.jpg|5
File:video6.jpg|6
File:video7.jpg|7
File:video8.jpg|8
File:video9.jpg|9
File:video10.jpg|10
File:video11.jpg|11
File:video12.jpg|12
</gallery>

File:Video12.jpg

2013-05-08T08:49:55Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video11.jpg

2013-05-08T08:49:22Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video9.jpg

2013-05-08T08:47:01Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video10.jpg

2013-05-08T08:45:34Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video6.jpg

2013-05-08T08:43:56Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video8.jpg

2013-05-08T08:43:08Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video7.jpg

2013-05-08T08:42:32Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

GMU:Istanbul/videosynthesis - playing a film

2013-05-08T08:30:56Z

Regina: /* The Video Installation */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
Can you remeber playing a game when nothing more is lying around than a sheet of paper and a pen? You start to write down a sentence or you draw some elements on the sheet. You fold the paper so that the others are only be able to read a snippet of what you've written. You pass it on to the next person who repeats the schema... and after some rounds you have a surreal, funny story or painting.

How would it be like if this playfully method would be used to discover an urban environment by transfering it to the medium of video and the web? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

[[File:AppScribble.jpg‎|thumb|1. AppScribble]]

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to one surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as a city and in this case Istanbul - is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my 4. Experiment I decided to give the filmmakers individual short instructions which changed from video to video. One instruction was to integrate a place into the video which had a special meaning for the filmmaker. The results of the submitted videos led to another video work which searches for emotional relations between people and their special places.

===2. A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The overall majority of the videos showed quiet, steady places. Therefore a patch was developed within Max MSP/Jitter which reflects the impression through a video installation.

===The Video Installation===
A camera captures the movement of an observer. Only when the viewer stands calm in front of the installation, the video is shown at normal playback speed, otherwise the videos jump wildly between randomly selected frames. The viewer is forced to remain still in order to watch the videos undisturbed.

<videoflash type=vimeo>61548141|437|250</videoflash>

<gallery>
File:video1.jpg|1
File:video2.jpg|2
File:video3.jpg|3
File:video4.jpg|4
File:video5.jpg|5
File:video6.jpg|6
File:video7.jpg|7
File:video8.jpg|8
</gallery>

File:Video5.jpg

2013-05-08T08:30:23Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video3.jpg

2013-05-08T08:29:47Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video4.jpg

2013-05-08T08:27:13Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video2.jpg

2013-05-08T08:25:51Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:Video1.jpg

2013-05-08T08:18:00Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

GMU:Istanbul/videosynthesis - playing a film

2013-05-07T12:05:40Z

Regina: /* 1. Videosynthesis */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
Can you remeber playing a game when nothing more is lying around than a sheet of paper and a pen? You start to write down a sentence or you draw some elements on the sheet. You fold the paper so that the others are only be able to read a snippet of what you've written. You pass it on to the next person who repeats the schema... and after some rounds you have a surreal, funny story or painting.

How would it be like if this playfully method would be used to discover an urban environment by transfering it to the medium of video and the web? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

[[File:AppScribble.jpg‎|thumb|1. AppScribble]]

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to one surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as a city and in this case Istanbul - is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my 4. Experiment I decided to give the filmmakers individual short instructions which changed from video to video. One instruction was to integrate a place into the video which had a special meaning for the filmmaker. The results of the submitted videos led to another video work which searches for emotional relations between people and their special places.

===2. A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The overall majority of the videos showed quiet, steady places. Therefore a patch was developed within Max MSP/Jitter which reflects the impression through a video installation.

===The Video Installation===
A camera captures the movement of an observer. Only when the viewer stands calm in front of the installation, the video is shown at normal playback speed, otherwise the videos jump wildly between randomly selected frames. The viewer is forced to remain still in order to watch the videos undisturbed.

<videoflash type=vimeo>61548141|437|250</videoflash>

File:AppScribble.jpg

2013-05-07T12:00:55Z

Regina: uploaded a new version of "File:AppScribble.jpg"

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

File:AppScribble.jpg

2013-05-07T11:59:06Z

Regina:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

GMU:Istanbul/videosynthesis - playing a film

2013-05-07T11:35:23Z

Regina: /* 1. Videosynthesis */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
Can you remeber playing a game when nothing more is lying around than a sheet of paper and a pen? You start to write down a sentence or you draw some elements on the sheet. You fold the paper so that the others are only be able to read a snippet of what you've written. You pass it on to the next person who repeats the schema... and after some rounds you have a surreal, funny story or painting.

How would it be like if this playfully method would be used to discover an urban environment by transfering it to the medium of video and the web? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to one surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as a city and in this case Istanbul - is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my 4. Experiment I decided to give the filmmakers individual short instructions which changed from video to video. One instruction was to integrate a place into the video which had a special meaning for the filmmaker. The results of the submitted videos led to another video work which searches for emotional relations between people and their special places.

===2. A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The overall majority of the videos showed quiet, steady places. Therefore a patch was developed within Max MSP/Jitter which reflects the impression through a video installation.

===The Video Installation===
A camera captures the movement of an observer. Only when the viewer stands calm in front of the installation, the video is shown at normal playback speed, otherwise the videos jump wildly between randomly selected frames. The viewer is forced to remain still in order to watch the videos undisturbed.

<videoflash type=vimeo>61548141|437|250</videoflash>

GMU:Istanbul/videosynthesis - playing a film

2013-05-07T11:33:18Z

Regina: /* 1. Videosynthesis */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
Can you remeber playing a game when nothing more is lying around than a sheet of paper and a pen? You start to write down a sentence or you draw some elements on a sheet of paper. You fold the paper so that the others are only be able to read a snippet of what you've written. You pass it on to the next person who repeats the schema... and after a while we would have a surreal story or painting.

How would it be like if this playfully method would be used to discover an urban environment by transfering it to the medium of video and the web? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to one surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as a city and in this case Istanbul - is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my 4. Experiment I decided to give the filmmakers individual short instructions which changed from video to video. One instruction was to integrate a place into the video which had a special meaning for the filmmaker. The results of the submitted videos led to another video work which searches for emotional relations between people and their special places.

===2. A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The overall majority of the videos showed quiet, steady places. Therefore a patch was developed within Max MSP/Jitter which reflects the impression through a video installation.

===The Video Installation===
A camera captures the movement of an observer. Only when the viewer stands calm in front of the installation, the video is shown at normal playback speed, otherwise the videos jump wildly between randomly selected frames. The viewer is forced to remain still in order to watch the videos undisturbed.

<videoflash type=vimeo>61548141|437|250</videoflash>

GMU:Istanbul/videosynthesis - playing a film

2013-03-19T11:45:20Z

Regina: /* Videosynthesis */

==1. Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
I imagine summer days in Istanbul can become too hot to move while in Germany winter days can be very cold and long – especially when you're a child and internet had not made it's way to your village yet. I remember hanging around bored with my siblings and with nothing more lying around than a sheet of paper and a pen. My sister would start to write down a sentence or to draw some elements, fold the paper so that we would only be able to read a snippet and then she would pass it on to me. I would repeat the schema, trying to be fanciful and pass it on again... and after a while we would have a funny, surreal story or painting.

How would it be like if this playfully method would be used to discover Istanbul by transfering it to the medium of video and the internet? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to an interactive, surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as Istanbul is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my '''4. Experiment''' (soon to come) I decided to give the filmmakers individual short instructions which change from video to video. For instance the first instruction was to integrate a place which had a special meaning for the filmmaker into the video.

===2. A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell me about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The strongest impressions of the videos seem to be the demand for tranquility and quiet places. Therefore a patch was developed within Max MSP/Jitter which reflects this impression through a video installation.

===The Video Installation===
A camera captures the movement of an observer. Only when the viewer stands calm in front of the installation, the video is shown at normal playback speed, otherwise the videos jump wildly between randomly selected frames. The viewer is forced to remain still to watch the videos undisturbed.

<videoflash type=vimeo>61548141|437|250</videoflash>

GMU:Istanbul/videosynthesis - playing a film

2013-03-19T11:44:07Z

Regina: /* A Special Place */

==Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
I imagine summer days in Istanbul can become too hot to move while in Germany winter days can be very cold and long – especially when you're a child and internet had not made it's way to your village yet. I remember hanging around bored with my siblings and with nothing more lying around than a sheet of paper and a pen. My sister would start to write down a sentence or to draw some elements, fold the paper so that we would only be able to read a snippet and then she would pass it on to me. I would repeat the schema, trying to be fanciful and pass it on again... and after a while we would have a funny, surreal story or painting.

How would it be like if this playfully method would be used to discover Istanbul by transfering it to the medium of video and the internet? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to an interactive, surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as Istanbul is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my '''4. Experiment''' (soon to come) I decided to give the filmmakers individual short instructions which change from video to video. For instance the first instruction was to integrate a place which had a special meaning for the filmmaker into the video.

===A Special Place===
Regarding the increasing development of urbanization and that the daily routine of many people is characterized by stress, capacity and constant medial influences, it has become quite interesting to me how places which have remarkable meanings for people look like. Where are these kind of places? Are they freely accessible? And what does one place they tell me about the person who chose it?

Several people where asked to shoot a calm, short video of a place which has a special meaning for them. The reasons for why a place is regarded as special was the free decision of each person.

The strongest impressions of the videos seem to be the demand for tranquility and quiet places. Therefore a patch was developed within Max MSP/Jitter which reflects this impression through a video installation.

===The Video Installation===
A camera captures the movement of an observer. Only when the viewer stands calm in front of the installation, the video is shown at normal playback speed, otherwise the videos jump wildly between randomly selected frames. The viewer is forced to remain still to watch the videos undisturbed.

<videoflash type=vimeo>61548141|437|250</videoflash>

GMU:Istanbul/videosynthesis - playing a film

2013-03-19T10:32:33Z

Regina: /* Concept */

==Videosynthesis==

[[File:Cadavre exquis example from wikipedia.jpg‎|thumb|example of the playfully drawing method]]
[[File:Prinzip2 klein.jpg‎|thumb|concept 1]]
[[File:Funktionsweise.png‎|thumb|concept 2]]
I imagine summer days in Istanbul can become too hot to move while in Germany winter days can be very cold and long – especially when you're a child and internet had not made it's way to your village yet. I remember hanging around bored with my siblings and with nothing more lying around than a sheet of paper and a pen. My sister would start to write down a sentence or to draw some elements, fold the paper so that we would only be able to read a snippet and then she would pass it on to me. I would repeat the schema, trying to be fanciful and pass it on again... and after a while we would have a funny, surreal story or painting.

How would it be like if this playfully method would be used to discover Istanbul by transfering it to the medium of video and the internet? Several people - probably strangers - create one patchwork story with only a limited knowledge of the contributions of the others.

===Concept===
The game will start by recording a short sequence. This video will be shown to a different person, who – inspired by the sequence – will shoot a video in his own environment, always with the question in mind how the story could continue. And again only the last videosequence will be passed on to the next person and so on and so on and so on...

We would gain lots of different video sequences from a variety of environments and visual approaches and combine it to an interactive, surreal narration. The stylistic realization of the recording process shall be free and organized with only a few necessary structures to encourage the freedom of associative visualization and to gain a diverse synthesis of video elements - diverse as Istanbul is said to be.

'''1. Experiment'''
<videoflash type=vimeo>61140559|437|250</videoflash>
Instructions: Create a connection to the previous video, video length around 30 sec

'''2. Experiment'''
<videoflash type=vimeo>61135443|437|250</videoflash>
Instructions: Integrate a person or an object, continue a narration, around 30 sec

'''3. Experiment -Istanbul'''
<videoflash type=vimeo>61141772|437|250</videoflash>
Instructions: Integrate a person and an object, continue a narration, short video

===Observations===

Particularly people without experiences in video and filmmaking had difficulties to evolve a narration and often seemed overcharged by the freely framed task settings. Therefore in my '''4. Experiment''' (soon to come) I decided to give the filmmakers individual short instructions which change from video to video. For instance the first instruction was to integrate a place which had a special meaning for the filmmaker into the video.

===A Special Place===
The question how special pl
<videoflash type=vimeo>61548141|437|250</videoflash>