https://www.uni-weimar.de/kunst-und-gestaltung/wiki/api.php?action=feedcontributions&feedformat=atom&user=Wazi2364 Medien Wiki - User contributions [en] 2026-05-19T19:02:05Z User contributions MediaWiki 1.39.6 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=140004 Sophia Amelia 2025-02-04T08:01:47Z <p>Wazi2364: </p> <hr /> <div><br /> <br /> <br /> <br /> <br /> = '''What we bring to the table''' =<br /> <br /> In this table, the option of holding hands is given form. Does it affect behavior, and does it make holding hands more likely? <br /> <br /> With every encounter, everything changes. When we encounter one thing, we encounter all other possibilities of encounter: new constellations, assemblages, and contexts. This table is static, but it has an effect of movement on its surroundings. Us and the things are connected. No borders—everything is permeable, including my physical body and my persona. Nothing is predetermined; there are no rules, no goals. It is a situation, an offer for thoughts or actions. It intervenes in the current flow and adapts to a new one.<br /> <br /> <br /> [[File:Hands.jpg|300px]]. [[File:Tables.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> [[File:Moldmaking.jpg|300px]]<br /> [[File:Fillingmold.jpg|300px]]<br /> [[File:Positiv.jpg|300px]]<br /> [[File:Cut.jpg|300px]]<br /> <br /> [[File:Blender.png|800px]]<br /> <br /> [[File:Cleaned up scan.png|frameless|600x600px]]<br /> <br /> <br /> <br /> [[File:Holding.jpg|800px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Tables.jpg&diff=140003 File:Tables.jpg 2025-02-04T08:01:13Z <p>Wazi2364: </p> <hr /> <div>hands</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=140002 Sophia Amelia 2025-02-04T08:00:23Z <p>Wazi2364: </p> <hr /> <div><br /> <br /> <br /> = '''What we bring to the table''' =<br /> <br /> In this table, the option of holding hands is given form. Does it affect behavior, and does it make holding hands more likely? <br /> <br /> With every encounter, everything changes. When we encounter one thing, we encounter all other possibilities of encounter: new constellations, assemblages, and contexts. This table is static, but it has an effect of movement on its surroundings. Us and the things are connected. No borders—everything is permeable, including my physical body and my persona. Nothing is predetermined; there are no rules, no goals. It is a situation, an offer for thoughts or actions. It intervenes in the current flow and adapts to a new one.<br /> <br /> <br /> [[File:Hands.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> [[File:Moldmaking.jpg|300px]]<br /> [[File:Fillingmold.jpg|300px]]<br /> [[File:Positiv.jpg|300px]]<br /> [[File:Cut.jpg|300px]]<br /> <br /> [[File:Blender.png|800px]]<br /> <br /> [[File:Cleaned up scan.png|frameless|600x600px]]<br /> <br /> <br /> <br /> [[File:Holding.jpg|800px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Hands.jpg&diff=140001 File:Hands.jpg 2025-02-04T07:59:21Z <p>Wazi2364: </p> <hr /> <div>und</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=140000 Sophia Amelia 2025-02-04T07:58:32Z <p>Wazi2364: </p> <hr /> <div>[[File:Tblset.jpg|thumb]]<br /> <br /> = '''What we bring to the table''' =<br /> <br /> In this table, the option of holding hands is given form. Does it affect behavior, and does it make holding hands more likely? <br /> <br /> With every encounter, everything changes. When we encounter one thing, we encounter all other possibilities of encounter: new constellations, assemblages, and contexts. This table is static, but it has an effect of movement on its surroundings. Us and the things are connected. No borders—everything is permeable, including my physical body and my persona. Nothing is predetermined; there are no rules, no goals. It is a situation, an offer for thoughts or actions. It intervenes in the current flow and adapts to a new one.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> [[File:Moldmaking.jpg|300px]]<br /> [[File:Fillingmold.jpg|300px]]<br /> [[File:Positiv.jpg|300px]]<br /> [[File:Cut.jpg|300px]]<br /> <br /> [[File:Blender.png|800px]]<br /> <br /> [[File:Cleaned up scan.png|frameless|600x600px]]<br /> <br /> <br /> <br /> [[File:Holding.jpg|800px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Tblset.jpg&diff=139999 File:Tblset.jpg 2025-02-04T07:57:55Z <p>Wazi2364: </p> <hr /> <div>tblset</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139998 Sophia Amelia 2025-02-04T07:52:00Z <p>Wazi2364: </p> <hr /> <div><br /> <br /> = '''What we bring to the table''' =<br /> <br /> In this table, the option of holding hands is given form. Does it affect behavior, and does it make holding hands more likely? <br /> <br /> With every encounter, everything changes. When we encounter one thing, we encounter all other possibilities of encounter: new constellations, assemblages, and contexts. This table is static, but it has an effect of movement on its surroundings. Us and the things are connected. No borders—everything is permeable, including my physical body and my persona. Nothing is predetermined; there are no rules, no goals. It is a situation, an offer for thoughts or actions. It intervenes in the current flow and adapts to a new one.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> [[File:Moldmaking.jpg|300px]]<br /> [[File:Fillingmold.jpg|300px]]<br /> [[File:Positiv.jpg|300px]]<br /> [[File:Cut.jpg|300px]]<br /> <br /> [[File:Blender.png|800px]]<br /> <br /> [[File:Cleaned up scan.png|frameless|600x600px]]<br /> <br /> <br /> <br /> [[File:Holding.jpg|800px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Holding.jpg&diff=139997 File:Holding.jpg 2025-02-04T07:50:55Z <p>Wazi2364: </p> <hr /> <div>hands</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Handsstructure.jpg&diff=139996 File:Handsstructure.jpg 2025-02-04T07:50:06Z <p>Wazi2364: </p> <hr /> <div>hands</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139735 Sophia Amelia 2025-01-09T11:52:23Z <p>Wazi2364: </p> <hr /> <div><br /> <br /> = '''What we bring to the table''' =<br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one. <br /> <br /> Me and the things a one. Now boarders, everything is permeable. My physical body as much as my persona.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> [[File:Moldmaking.jpg|300px]]<br /> [[File:Fillingmold.jpg|300px]]<br /> [[File:Positiv.jpg|300px]]<br /> [[File:Cut.jpg|300px]]<br /> <br /> [[File:Blender.png|800px]]<br /> <br /> [[File:Cleaned up scan.png|frameless|600x600px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Cleaned_up_scan.png&diff=139734 File:Cleaned up scan.png 2025-01-09T11:51:21Z <p>Wazi2364: </p> <hr /> <div>cleaned up</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139728 Sophia Amelia 2025-01-07T18:27:53Z <p>Wazi2364: </p> <hr /> <div><br /> <br /> = '''What we bring to the table''' =<br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one. <br /> <br /> Me and the things a one. Now boarders, everything is permeable. My physical body as much as my persona.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> [[File:Moldmaking.jpg|300px]]<br /> [[File:Fillingmold.jpg|300px]]<br /> [[File:Positiv.jpg|300px]]<br /> [[File:Cut.jpg|300px]]<br /> <br /> [[File:Blender.png|800px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139727 Sophia Amelia 2025-01-07T18:27:14Z <p>Wazi2364: </p> <hr /> <div><br /> <br /> = '''What we bring to the table''' =<br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one. <br /> <br /> Me and the things a one. Now boarders, everything is permeable. My physical body as much as my persona.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> [[File:Moldmaking.jpg|300px]]<br /> <br /> [[File:Fillingmold.jpg|300px]]<br /> <br /> [[File:Positiv.jpg|300px]]<br /> <br /> [[File:Cut.jpg|300px]]<br /> <br /> [[File:Blender.png|600px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139726 Sophia Amelia 2025-01-07T18:25:04Z <p>Wazi2364: switched places</p> <hr /> <div><br /> <br /> = '''What we bring to the table''' =<br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one. <br /> <br /> Me and the things a one. Now boarders, everything is permeable. My physical body as much as my persona.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> <br /> [[File:Cut.jpg|thumb|300px]]<br /> <br /> [[File:Blender.png|300px]]<br /> [[File:Positiv.jpg|300px]]<br /> [[File:Moldmaking.jpg|300px]]<br /> [[File:Fillingmold.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Blender.png&diff=139725 File:Blender.png 2025-01-07T18:22:28Z <p>Wazi2364: </p> <hr /> <div>working in blender</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Photogrammetryofhands.png&diff=139724 File:Photogrammetryofhands.png 2025-01-07T18:21:29Z <p>Wazi2364: </p> <hr /> <div>photogrammetry scan of hands</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Cut.jpg&diff=139723 File:Cut.jpg 2025-01-07T18:20:25Z <p>Wazi2364: </p> <hr /> <div>cutout for later</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Positiv.jpg&diff=139722 File:Positiv.jpg 2025-01-07T18:19:29Z <p>Wazi2364: </p> <hr /> <div>positive of two holding hands</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Fillingmold.jpg&diff=139721 File:Fillingmold.jpg 2025-01-07T18:18:16Z <p>Wazi2364: </p> <hr /> <div>fillingmold</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Moldmaking.jpg&diff=139720 File:Moldmaking.jpg 2025-01-07T18:17:20Z <p>Wazi2364: </p> <hr /> <div>moldmaking</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139716 Sophia Amelia 2025-01-05T15:14:16Z <p>Wazi2364: </p> <hr /> <div>= '''What we bring to the table''' =<br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one. <br /> <br /> Me and the things a one. Now boarders, everything is permeable. My physical body as much as my persona.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139715 Sophia Amelia 2025-01-05T15:13:03Z <p>Wazi2364: </p> <hr /> <div>= '''What we bring to the table''' =<br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one. <br /> <br /> Me and the things a one. Now boarders, everything is permeable. My physical body as much as my persona.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139714 Sophia Amelia 2025-01-05T13:25:03Z <p>Wazi2364: </p> <hr /> <div>= '''What we bring to the table''' =<br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one.<br /> <br /> <br /> <br /> <br /> <br /> ''Finding a form''<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ''Idea''<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> <br /> <br /> <br /> ''Process''<br /> <br /> ''Texts that I liked to read that keep me from doing''<br /> <br /> why do I like to read so much instead of just doing? <br /> <br /> Karen Barad - Agentieller Realismus<br /> <br /> When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, of a proximity of otherness that brings the other nearly as close as oneself – perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity of others – other beings, other spaces, other times – are aroused. - Karen Barad<br /> <br /> https://www.diaphanes.net/titel/on-touching-the-inhuman-that-therefore-i-am-v1-1-3075<br /> <br /> Katrin Busch- Ohnmacht<br /> <br /> https://www.textezurkunst.de/de/130/kathrin-busch-ohnmaechtig-werden-aesthetiken-der-schwachen-existenz/<br /> <br /> Donna Haraway<br /> <br /> Manifest für Gefährten<br /> <br /> Situated Knowledge</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139713 Sophia Amelia 2025-01-05T13:10:48Z <p>Wazi2364: </p> <hr /> <div><br /> '''What we bring to the table'''<br /> <br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one.<br /> <br /> <br /> <br /> <br /> <br /> Finding a form<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Idea<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]<br /> <br /> <br /> Process</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139712 Sophia Amelia 2025-01-05T13:07:29Z <p>Wazi2364: </p> <hr /> <div><br /> '''What we bring to the table'''<br /> <br /> <br /> <br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts.<br /> <br /> This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one.<br /> <br /> [[File:Object.jpg|300px]]<br /> [[File:Connection.jpg|300px]]<br /> [[File:How.jpg|300px]]</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139711 Sophia Amelia 2025-01-05T13:06:16Z <p>Wazi2364: </p> <hr /> <div><br /> '''What we bring to the table'''<br /> <br /> <br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts.<br /> <br /> This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one.<br /> <br /> [[File:Object.jpg]]<br /> [[File:Connection.jpg]]<br /> [[File:How.jpg]]</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:How.jpg&diff=139710 File:How.jpg 2025-01-05T13:04:25Z <p>Wazi2364: </p> <hr /> <div>on</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Object.jpg&diff=139709 File:Object.jpg 2025-01-05T13:02:56Z <p>Wazi2364: </p> <hr /> <div>object</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Sophia_Amelia&diff=139708 Sophia Amelia 2025-01-05T13:01:59Z <p>Wazi2364: Created page with &quot;&#039;&#039;&#039;What we bring to the table&#039;&#039;&#039; thumb With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts. This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one.&quot;</p> <hr /> <div>'''What we bring to the table'''<br /> <br /> [[File:Connection.jpg|thumb]]<br /> With every encounter everything changes. When we encounter one thing we encounter all other possibilities of encounter. New constellations, assemblages, contexts.<br /> <br /> This table is not static. It is not determined there are no rules, no goals. It is a situation, it is an offer for thoughts or actions. It is intervening the current flow, adapting to a new one.</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Connection.jpg&diff=139707 File:Connection.jpg 2025-01-05T13:01:50Z <p>Wazi2364: </p> <hr /> <div>1</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann)&diff=139706 GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann) 2025-01-05T12:52:20Z <p>Wazi2364: </p> <hr /> <div>[[File:Cybernetics zeichnung.png|thumb|531x531px|Drawing by Ricardo Tapia Ch in the class of Tibor Weiner, Chile (Credit: Antonieta Hola)]]<br /> Beginning in the nineteen thirties and continuing through and after World War II, scientists developed increasingly sophisticated mechanical and electrical systems that seemed to have purpose. This intersected with research on animal cognition and early computing and led to a new perspective on mechanical, electrical, biological, and social systems, resulting in a unifying theory known as cybernetics. Although today the computer has become the driving force and steering mechanism of our civilization in an unprecedented development, the original ideas relating to cybernetics have faded from view. Cybernetics - with the computer as a means - became too much a synonym for control and domination, while at the same time almost every corner of our earth was digitally penetrated.  A kind of digital organism was created not only through governance, but also through self-organization. <br /> <br /> Today, we are not only living with digital machines, but also with the environmental consequences of them, and we have to realize that our world is changing - in a way that we had not anticipated. <br /> <br /> Reason enough to address this development as a culture - or unculture - by looking at the actors who are involved. And the sets of rules in the world that currently surrounds us, in which they are involved or even develop them themselves in a game of feedback and recursion. <br /> <br /> But also by critically scrutinizing the consequences of digitalization and asking ourselves whether we can choose or invent other forms of technization? And where we have made mistakes in the past?<br /> <br /> It is up to you - the students - to ensure that this does not develop as a project of criticism, because the aim of the project is to produce (art) works, concepts, performances and proposals for actions that develop practices out of an understanding of the environment, which unfold in their reciprocal relationships between the acting subjects - be they humans, animals, plants or machines.<br /> <br /> '''It is highly recommended if not mandatory to register in parrallel to the scientific module by Jan Willmann [https://www.uni-weimar.de/qisserver/rds?state=verpublish&amp;status=init&amp;vmfile=no&amp;publishid=64267&amp;moduleCall=webInfo&amp;publishConfFile=webInfo&amp;publishSubDir=veranstaltung here]'''<br /> <br /> '''Please apply with a portfolio with ursula.damm at uni-weimar.de''' <br /> <br /> An excursion to [https://schieferpark.de/ Schieferpark] in the first week of December is part of the module. <br /> <br /> &lt;small&gt;&lt;u&gt;Program of the Retreat:&lt;/u&gt;&lt;/small&gt; <br /> <br /> &lt;small&gt;The environment of Schieferpark should be an opportunity to relate to natural processes and the flow of time (e.g. of plants, animals and machines). How does it come about that we recognize phenomena that we observe as a coherent entity (i.e. a system)? What kind of strategies do such “systems” use to maintain an inner balance under permanently changing external conditions? How do individual entities distinguish themselves from others and how do they connect with them, for example, to gain individual advantages, but also to show a completely different overall behavior in relation to their environment? How can we couple systems to create symbiotic and cooperative behavior on the one hand, but also antagonistic and defensive behavior on the other?. From these systemic couplings, ideas for artistic installations can then be developed. (...). We draw on the history of cybernetics and the beginnings of artificial intelligence to reflect on the relationship to our now precarious environment and its needs in these models of thinking. How can we develop technologies that bring us into balance with our natural environment? How can learning be understood in technology and living beings, based on the levels of learning defined by the cyberneticist Gregory Bateson? At the same time, the excursion should also be an opportunity to connect with students from other art schools and get to know their way of working. For students in final projects, the presentation and discussion of their work is in the foreground. For younger students and anyone interested, there are short workshops with simple tasks that can be developed, discussed and solved in group work.&lt;/small&gt; <br /> <br /> Schedule of the project: <br /> <br /> * 22.10.2024: first meeting at DBL: Introduction by Ursula Damm '''&quot;Technology Creating Infrastructure&quot;''' and Georg Trogemann '''&quot;Cybernetics&quot;'''<br /> * 29.10.2024: Getting to know each other, presentations of participants, prior work (15 min), concept (5 min), additional presentations by teachers<br /> *05.11.2024: Presentation of Artists in the context of Cybernetics today<br /> *12.11.2024: <br /> *19.11.2024: Amelia (Gestures and Bodylanguage)<br /> *26.11.2024: Lina (smelling thru sensors)<br /> *02.12.2024 - 06.12.2024 Retreat in Schieferpark (with Prof. Lasse Scherffig and his Students) <br /> *10.12.2024: midterm presentation of your projects - be prepared (pdf with fotos, links, videos, text 15 min.)<br /> *17.12.2024: no meeting<br /> *07.01.2025: no meeting<br /> *14.01.2025: <br /> *21.01.2025:<br /> *28.01.2025: <br /> *04.02.2025: endpresentation<br /> separate obligatory lectures:<br /> <br /> * Georg Trogemann: 21.11.2024 <br /> * Ursula Damm: Presentation of Media Artworks on Cybernetics during the last 40 years<br /> <br /> <br /> <br /> <br /> Literature: <br /> <br /> * Yuk Hui: '''[https://hanart.press/cybernetics-for-the-21st-century-vol-1/ Cybernetics for the 21st Century] ISBN 978-9887026808'''<br /> * Claus Pias: The Macy Conferences 1946-1953. The Complete Transactions, Diaphanes 2016 ISBN 978-3037345986 <br /> * Thomas Dreher: [https://archiv.ub.uni-heidelberg.de/artdok/7723/1/Dreher_History-of-Computer-Art_2020.pdf History of Computer Art]<br /> * David Maulén de los Reyes: [https://books.ub.uni-heidelberg.de/arthistoricum/catalog/book/843/chapter/11912 Re-Imagining Modernization in Chile—The Active School Movement, Integral Co-op Architecture, Second-Order Cybernetics—Lessons from the Bauhaus and Beyond]<br /> * C. Sollfrank, F. Stalder, S. Niederberger[https://www.diaphanes.net/titel/aesthetics-of-the-commons-6419 : Aesthetics of the commons]<br /> * [http://cyberneticserendipity.net/ Cybernetic Serendipity], [https://monoskop.org/Cybernetic_Serendipity Book] <br /> Artists:<br /> <br /> * [http://heavythinking.org/ Verena Friedrich] <br /> * [https://rlfbckr.io/ Ralf Baecker]<br /> *[https://nicolahein.com/ Nicola Hein]<br /> *[https://smitesmits.com/ Rasa Smite Raitis Smits]<br /> *[https://angelawashko.com/home.html Angela Wahsko]<br /> *[https://forensic-architecture.org/ Forensic Architecture]<br /> *[https://www.dwbowen.com/ David Bowen]<br /> *[https://www.lozano-hemmer.com/ Raphael Lozano-Hemmer]<br /> *[https://www.tate.org.uk/art/artists/gustav-metzger-7196 Gustav Metzger]<br /> *[https://jennasutela.com/ Jenna Sutela]<br /> *[https://www.walidraad.com/ Walid Raad]<br /> *[https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]<br /> *[https://archiv.adk.de/bigobjekt/17126 Lutz Dammbeck]<br /> *[https://www.romansigner.ch/ Roman Signer]<br /> *[https://monoskop.org/Mierle_Laderman_Ukeles Mierle Laderman Ukeles]<br /> *[https://refikanadol.com/ Refik Anadol]<br /> Students: <br /> <br /> * [[ Sophia Amelia]]<br /> * Mahla Mosahaneh<br /> * [[/Dahye Seo]]<br /> * Öykü Türkan<br /> * [[Lina Louise Wolff]]<br /> * Kitman Yeoung<br /> * Sabah Khaled Abouelhadid Elsay Hassan<br /> * Julian Michael Hoffmann<br /> * Viviane Morais Dantas<br /> * Benazir Basauri<br /> * Rieke Hettinger<br /> * Jan Munske</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann)&diff=139705 GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann) 2025-01-05T12:51:38Z <p>Wazi2364: </p> <hr /> <div>[[File:Cybernetics zeichnung.png|thumb|531x531px|Drawing by Ricardo Tapia Ch in the class of Tibor Weiner, Chile (Credit: Antonieta Hola)]]<br /> Beginning in the nineteen thirties and continuing through and after World War II, scientists developed increasingly sophisticated mechanical and electrical systems that seemed to have purpose. This intersected with research on animal cognition and early computing and led to a new perspective on mechanical, electrical, biological, and social systems, resulting in a unifying theory known as cybernetics. Although today the computer has become the driving force and steering mechanism of our civilization in an unprecedented development, the original ideas relating to cybernetics have faded from view. Cybernetics - with the computer as a means - became too much a synonym for control and domination, while at the same time almost every corner of our earth was digitally penetrated.  A kind of digital organism was created not only through governance, but also through self-organization. <br /> <br /> Today, we are not only living with digital machines, but also with the environmental consequences of them, and we have to realize that our world is changing - in a way that we had not anticipated. <br /> <br /> Reason enough to address this development as a culture - or unculture - by looking at the actors who are involved. And the sets of rules in the world that currently surrounds us, in which they are involved or even develop them themselves in a game of feedback and recursion. <br /> <br /> But also by critically scrutinizing the consequences of digitalization and asking ourselves whether we can choose or invent other forms of technization? And where we have made mistakes in the past?<br /> <br /> It is up to you - the students - to ensure that this does not develop as a project of criticism, because the aim of the project is to produce (art) works, concepts, performances and proposals for actions that develop practices out of an understanding of the environment, which unfold in their reciprocal relationships between the acting subjects - be they humans, animals, plants or machines.<br /> <br /> '''It is highly recommended if not mandatory to register in parrallel to the scientific module by Jan Willmann [https://www.uni-weimar.de/qisserver/rds?state=verpublish&amp;status=init&amp;vmfile=no&amp;publishid=64267&amp;moduleCall=webInfo&amp;publishConfFile=webInfo&amp;publishSubDir=veranstaltung here]'''<br /> <br /> '''Please apply with a portfolio with ursula.damm at uni-weimar.de''' <br /> <br /> An excursion to [https://schieferpark.de/ Schieferpark] in the first week of December is part of the module. <br /> <br /> &lt;small&gt;&lt;u&gt;Program of the Retreat:&lt;/u&gt;&lt;/small&gt; <br /> <br /> &lt;small&gt;The environment of Schieferpark should be an opportunity to relate to natural processes and the flow of time (e.g. of plants, animals and machines). How does it come about that we recognize phenomena that we observe as a coherent entity (i.e. a system)? What kind of strategies do such “systems” use to maintain an inner balance under permanently changing external conditions? How do individual entities distinguish themselves from others and how do they connect with them, for example, to gain individual advantages, but also to show a completely different overall behavior in relation to their environment? How can we couple systems to create symbiotic and cooperative behavior on the one hand, but also antagonistic and defensive behavior on the other?. From these systemic couplings, ideas for artistic installations can then be developed. (...). We draw on the history of cybernetics and the beginnings of artificial intelligence to reflect on the relationship to our now precarious environment and its needs in these models of thinking. How can we develop technologies that bring us into balance with our natural environment? How can learning be understood in technology and living beings, based on the levels of learning defined by the cyberneticist Gregory Bateson? At the same time, the excursion should also be an opportunity to connect with students from other art schools and get to know their way of working. For students in final projects, the presentation and discussion of their work is in the foreground. For younger students and anyone interested, there are short workshops with simple tasks that can be developed, discussed and solved in group work.&lt;/small&gt; <br /> <br /> Schedule of the project: <br /> <br /> * 22.10.2024: first meeting at DBL: Introduction by Ursula Damm '''&quot;Technology Creating Infrastructure&quot;''' and Georg Trogemann '''&quot;Cybernetics&quot;'''<br /> * 29.10.2024: Getting to know each other, presentations of participants, prior work (15 min), concept (5 min), additional presentations by teachers<br /> *05.11.2024: Presentation of Artists in the context of Cybernetics today<br /> *12.11.2024: <br /> *19.11.2024: Amelia (Gestures and Bodylanguage)<br /> *26.11.2024: Lina (smelling thru sensors)<br /> *02.12.2024 - 06.12.2024 Retreat in Schieferpark (with Prof. Lasse Scherffig and his Students) <br /> *10.12.2024: midterm presentation of your projects - be prepared (pdf with fotos, links, videos, text 15 min.)<br /> *17.12.2024: no meeting<br /> *07.01.2025: no meeting<br /> *14.01.2025: <br /> *21.01.2025:<br /> *28.01.2025: <br /> *04.02.2025: endpresentation<br /> separate obligatory lectures:<br /> <br /> * Georg Trogemann: 21.11.2024 <br /> * Ursula Damm: Presentation of Media Artworks on Cybernetics during the last 40 years<br /> <br /> <br /> <br /> <br /> Literature: <br /> <br /> * Yuk Hui: '''[https://hanart.press/cybernetics-for-the-21st-century-vol-1/ Cybernetics for the 21st Century] ISBN 978-9887026808'''<br /> * Claus Pias: The Macy Conferences 1946-1953. The Complete Transactions, Diaphanes 2016 ISBN 978-3037345986 <br /> * Thomas Dreher: [https://archiv.ub.uni-heidelberg.de/artdok/7723/1/Dreher_History-of-Computer-Art_2020.pdf History of Computer Art]<br /> * David Maulén de los Reyes: [https://books.ub.uni-heidelberg.de/arthistoricum/catalog/book/843/chapter/11912 Re-Imagining Modernization in Chile—The Active School Movement, Integral Co-op Architecture, Second-Order Cybernetics—Lessons from the Bauhaus and Beyond]<br /> * C. Sollfrank, F. Stalder, S. Niederberger[https://www.diaphanes.net/titel/aesthetics-of-the-commons-6419 : Aesthetics of the commons]<br /> * [http://cyberneticserendipity.net/ Cybernetic Serendipity], [https://monoskop.org/Cybernetic_Serendipity Book] <br /> Artists:<br /> <br /> * [http://heavythinking.org/ Verena Friedrich] <br /> * [https://rlfbckr.io/ Ralf Baecker]<br /> *[https://nicolahein.com/ Nicola Hein]<br /> *[https://smitesmits.com/ Rasa Smite Raitis Smits]<br /> *[https://angelawashko.com/home.html Angela Wahsko]<br /> *[https://forensic-architecture.org/ Forensic Architecture]<br /> *[https://www.dwbowen.com/ David Bowen]<br /> *[https://www.lozano-hemmer.com/ Raphael Lozano-Hemmer]<br /> *[https://www.tate.org.uk/art/artists/gustav-metzger-7196 Gustav Metzger]<br /> *[https://jennasutela.com/ Jenna Sutela]<br /> *[https://www.walidraad.com/ Walid Raad]<br /> *[https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]<br /> *[https://archiv.adk.de/bigobjekt/17126 Lutz Dammbeck]<br /> *[https://www.romansigner.ch/ Roman Signer]<br /> *[https://monoskop.org/Mierle_Laderman_Ukeles Mierle Laderman Ukeles]<br /> *[https://refikanadol.com/ Refik Anadol]<br /> Students: <br /> <br /> * [[Amelia]]<br /> * Mahla Mosahaneh<br /> * [[/Dahye Seo]]<br /> * Öykü Türkan<br /> * [[Lina Louise Wolff]]<br /> * Kitman Yeoung<br /> * Sabah Khaled Abouelhadid Elsay Hassan<br /> * Julian Michael Hoffmann<br /> * Viviane Morais Dantas<br /> * Benazir Basauri<br /> * Rieke Hettinger<br /> * Jan Munske</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann)&diff=139704 GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann) 2025-01-05T12:51:06Z <p>Wazi2364: </p> <hr /> <div>[[File:Cybernetics zeichnung.png|thumb|531x531px|Drawing by Ricardo Tapia Ch in the class of Tibor Weiner, Chile (Credit: Antonieta Hola)]]<br /> Beginning in the nineteen thirties and continuing through and after World War II, scientists developed increasingly sophisticated mechanical and electrical systems that seemed to have purpose. This intersected with research on animal cognition and early computing and led to a new perspective on mechanical, electrical, biological, and social systems, resulting in a unifying theory known as cybernetics. Although today the computer has become the driving force and steering mechanism of our civilization in an unprecedented development, the original ideas relating to cybernetics have faded from view. Cybernetics - with the computer as a means - became too much a synonym for control and domination, while at the same time almost every corner of our earth was digitally penetrated.  A kind of digital organism was created not only through governance, but also through self-organization. <br /> <br /> Today, we are not only living with digital machines, but also with the environmental consequences of them, and we have to realize that our world is changing - in a way that we had not anticipated. <br /> <br /> Reason enough to address this development as a culture - or unculture - by looking at the actors who are involved. And the sets of rules in the world that currently surrounds us, in which they are involved or even develop them themselves in a game of feedback and recursion. <br /> <br /> But also by critically scrutinizing the consequences of digitalization and asking ourselves whether we can choose or invent other forms of technization? And where we have made mistakes in the past?<br /> <br /> It is up to you - the students - to ensure that this does not develop as a project of criticism, because the aim of the project is to produce (art) works, concepts, performances and proposals for actions that develop practices out of an understanding of the environment, which unfold in their reciprocal relationships between the acting subjects - be they humans, animals, plants or machines.<br /> <br /> '''It is highly recommended if not mandatory to register in parrallel to the scientific module by Jan Willmann [https://www.uni-weimar.de/qisserver/rds?state=verpublish&amp;status=init&amp;vmfile=no&amp;publishid=64267&amp;moduleCall=webInfo&amp;publishConfFile=webInfo&amp;publishSubDir=veranstaltung here]'''<br /> <br /> '''Please apply with a portfolio with ursula.damm at uni-weimar.de''' <br /> <br /> An excursion to [https://schieferpark.de/ Schieferpark] in the first week of December is part of the module. <br /> <br /> &lt;small&gt;&lt;u&gt;Program of the Retreat:&lt;/u&gt;&lt;/small&gt; <br /> <br /> &lt;small&gt;The environment of Schieferpark should be an opportunity to relate to natural processes and the flow of time (e.g. of plants, animals and machines). How does it come about that we recognize phenomena that we observe as a coherent entity (i.e. a system)? What kind of strategies do such “systems” use to maintain an inner balance under permanently changing external conditions? How do individual entities distinguish themselves from others and how do they connect with them, for example, to gain individual advantages, but also to show a completely different overall behavior in relation to their environment? How can we couple systems to create symbiotic and cooperative behavior on the one hand, but also antagonistic and defensive behavior on the other?. From these systemic couplings, ideas for artistic installations can then be developed. (...). We draw on the history of cybernetics and the beginnings of artificial intelligence to reflect on the relationship to our now precarious environment and its needs in these models of thinking. How can we develop technologies that bring us into balance with our natural environment? How can learning be understood in technology and living beings, based on the levels of learning defined by the cyberneticist Gregory Bateson? At the same time, the excursion should also be an opportunity to connect with students from other art schools and get to know their way of working. For students in final projects, the presentation and discussion of their work is in the foreground. For younger students and anyone interested, there are short workshops with simple tasks that can be developed, discussed and solved in group work.&lt;/small&gt; <br /> <br /> Schedule of the project: <br /> <br /> * 22.10.2024: first meeting at DBL: Introduction by Ursula Damm '''&quot;Technology Creating Infrastructure&quot;''' and Georg Trogemann '''&quot;Cybernetics&quot;'''<br /> * 29.10.2024: Getting to know each other, presentations of participants, prior work (15 min), concept (5 min), additional presentations by teachers<br /> *05.11.2024: Presentation of Artists in the context of Cybernetics today<br /> *12.11.2024: <br /> *19.11.2024: Amelia (Gestures and Bodylanguage)<br /> *26.11.2024: Lina (smelling thru sensors)<br /> *02.12.2024 - 06.12.2024 Retreat in Schieferpark (with Prof. Lasse Scherffig and his Students) <br /> *10.12.2024: midterm presentation of your projects - be prepared (pdf with fotos, links, videos, text 15 min.)<br /> *17.12.2024: no meeting<br /> *07.01.2025: no meeting<br /> *14.01.2025: <br /> *21.01.2025:<br /> *28.01.2025: <br /> *04.02.2025: endpresentation<br /> separate obligatory lectures:<br /> <br /> * Georg Trogemann: 21.11.2024 <br /> * Ursula Damm: Presentation of Media Artworks on Cybernetics during the last 40 years<br /> <br /> <br /> <br /> <br /> Literature: <br /> <br /> * Yuk Hui: '''[https://hanart.press/cybernetics-for-the-21st-century-vol-1/ Cybernetics for the 21st Century] ISBN 978-9887026808'''<br /> * Claus Pias: The Macy Conferences 1946-1953. The Complete Transactions, Diaphanes 2016 ISBN 978-3037345986 <br /> * Thomas Dreher: [https://archiv.ub.uni-heidelberg.de/artdok/7723/1/Dreher_History-of-Computer-Art_2020.pdf History of Computer Art]<br /> * David Maulén de los Reyes: [https://books.ub.uni-heidelberg.de/arthistoricum/catalog/book/843/chapter/11912 Re-Imagining Modernization in Chile—The Active School Movement, Integral Co-op Architecture, Second-Order Cybernetics—Lessons from the Bauhaus and Beyond]<br /> * C. Sollfrank, F. Stalder, S. Niederberger[https://www.diaphanes.net/titel/aesthetics-of-the-commons-6419 : Aesthetics of the commons]<br /> * [http://cyberneticserendipity.net/ Cybernetic Serendipity], [https://monoskop.org/Cybernetic_Serendipity Book] <br /> Artists:<br /> <br /> * [http://heavythinking.org/ Verena Friedrich] <br /> * [https://rlfbckr.io/ Ralf Baecker]<br /> *[https://nicolahein.com/ Nicola Hein]<br /> *[https://smitesmits.com/ Rasa Smite Raitis Smits]<br /> *[https://angelawashko.com/home.html Angela Wahsko]<br /> *[https://forensic-architecture.org/ Forensic Architecture]<br /> *[https://www.dwbowen.com/ David Bowen]<br /> *[https://www.lozano-hemmer.com/ Raphael Lozano-Hemmer]<br /> *[https://www.tate.org.uk/art/artists/gustav-metzger-7196 Gustav Metzger]<br /> *[https://jennasutela.com/ Jenna Sutela]<br /> *[https://www.walidraad.com/ Walid Raad]<br /> *[https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]<br /> *[https://archiv.adk.de/bigobjekt/17126 Lutz Dammbeck]<br /> *[https://www.romansigner.ch/ Roman Signer]<br /> *[https://monoskop.org/Mierle_Laderman_Ukeles Mierle Laderman Ukeles]<br /> *[https://refikanadol.com/ Refik Anadol]<br /> Students: <br /> <br /> * Amelia <br /> * Mahla Mosahaneh<br /> * [[/Dahye Seo]]<br /> * Öykü Türkan<br /> * [[Lina Louise Wolff]]<br /> * Kitman Yeoung<br /> * Sabah Khaled Abouelhadid Elsay Hassan<br /> * Julian Michael Hoffmann<br /> * Viviane Morais Dantas<br /> * Benazir Basauri<br /> * Rieke Hettinger<br /> * Jan Munske</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Cybernetic_Subjects_-_Ursula_Damm_(Georg_Trogemann)&diff=139119 GMU:Cybernetic Subjects - Ursula Damm (Georg Trogemann) 2024-10-30T13:54:06Z <p>Wazi2364: </p> <hr /> <div>[[File:Cybernetics zeichnung.png|thumb|531x531px|Drawing by Ricardo Tapia Ch in the class of Tibor Weiner, Chile (Credit: Antonieta Hola)]]<br /> Beginning in the nineteen thirties and continuing through and after World War II, scientists developed increasingly sophisticated mechanical and electrical systems that seemed to have purpose. This intersected with research on animal cognition and early computing and led to a new perspective on mechanical, electrical, biological, and social systems, resulting in a unifying theory known as cybernetics. Although today the computer has become the driving force and steering mechanism of our civilization in an unprecedented development, the original ideas relating to cybernetics have faded from view. Cybernetics - with the computer as a means - became too much a synonym for control and domination, while at the same time almost every corner of our earth was digitally penetrated.  A kind of digital organism was created not only through governance, but also through self-organization. <br /> <br /> Today, we are not only living with digital machines, but also with the environmental consequences of them, and we have to realize that our world is changing - in a way that we had not anticipated. <br /> <br /> Reason enough to address this development as a culture - or unculture - by looking at the actors who are involved. And the sets of rules in the world that currently surrounds us, in which they are involved or even develop them themselves in a game of feedback and recursion. <br /> <br /> But also by critically scrutinizing the consequences of digitalization and asking ourselves whether we can choose or invent other forms of technization? And where we have made mistakes in the past?<br /> <br /> It is up to you - the students - to ensure that this does not develop as a project of criticism, because the aim of the project is to produce (art) works, concepts, performances and proposals for actions that develop practices out of an understanding of the environment, which unfold in their reciprocal relationships between the acting subjects - be they humans, animals, plants or machines.<br /> <br /> '''It is highly recommended if not mandatory to register in parrallel to the scientific module by Jan Willmann [https://www.uni-weimar.de/qisserver/rds?state=verpublish&amp;status=init&amp;vmfile=no&amp;publishid=64267&amp;moduleCall=webInfo&amp;publishConfFile=webInfo&amp;publishSubDir=veranstaltung here]'''<br /> <br /> '''Please apply with a portfolio with ursula.damm at uni-weimar.de''' <br /> <br /> An excursion to [https://schieferpark.de/ Schieferpark] in the first week of December is part of the module. <br /> <br /> &lt;small&gt;&lt;u&gt;Program of the Retreat:&lt;/u&gt;&lt;/small&gt; <br /> <br /> &lt;small&gt;The environment of Schieferpark should be an opportunity to relate to natural processes and the flow of time (e.g. of plants, animals and machines). How does it come about that we recognize phenomena that we observe as a coherent entity (i.e. a system)? What kind of strategies do such “systems” use to maintain an inner balance under permanently changing external conditions? How do individual entities distinguish themselves from others and how do they connect with them, for example, to gain individual advantages, but also to show a completely different overall behavior in relation to their environment? How can we couple systems to create symbiotic and cooperative behavior on the one hand, but also antagonistic and defensive behavior on the other?. From these systemic couplings, ideas for artistic installations can then be developed. (...). We draw on the history of cybernetics and the beginnings of artificial intelligence to reflect on the relationship to our now precarious environment and its needs in these models of thinking. How can we develop technologies that bring us into balance with our natural environment? How can learning be understood in technology and living beings, based on the levels of learning defined by the cyberneticist Gregory Bateson? At the same time, the excursion should also be an opportunity to connect with students from other art schools and get to know their way of working. For students in final projects, the presentation and discussion of their work is in the foreground. For younger students and anyone interested, there are short workshops with simple tasks that can be developed, discussed and solved in group work.&lt;/small&gt; <br /> <br /> Schedule of the project: <br /> <br /> * 22.10.2024: first meeting at DBL: Introduction by Ursula Damm '''&quot;Technology Creating Infrastructure&quot;''' and Georg Trogemann '''&quot;Cybernetics&quot;'''<br /> * 29.10.2024: Getting to know each other, presentations of participants, prior work (15 min), concept (5 min), additional presentations by teachers<br /> *05.11.2024: Presentation of Artists in the context of Cybernetics today<br /> *12.11.2024: Amelia (Gestures and Bodylanguage)<br /> *19.11.2024: <br /> *26.11.2024:<br /> *02.12.2024 - 06.12.2024 Retreat in Schieferpark (with Prof. Lasse Scherffig and his Students) <br /> *10.12.2024: midterm presentation of your projects - be prepared (pdf with fotos, links, videos, text 15 min.)<br /> *17.12.2024: no meeting<br /> *07.01.2025: no meeting<br /> *14.01.2025: <br /> *21.01.2025:<br /> *28.01.2025: <br /> *04.02.2025: endpresentation<br /> separate obligatory lectures:<br /> <br /> * Georg Trogemann: 21.11.2024 <br /> * Ursula Damm: Presentation of Media Artworks on Cybernetics during the last 40 years<br /> <br /> <br /> <br /> <br /> Literature: <br /> <br /> * Yuk Hui: '''[https://hanart.press/cybernetics-for-the-21st-century-vol-1/ Cybernetics for the 21st Century] ISBN 978-9887026808'''<br /> * Claus Pias: The Macy Conferences 1946-1953. The Complete Transactions, Diaphanes 2016 ISBN 978-3037345986 <br /> * Thomas Dreher: [https://archiv.ub.uni-heidelberg.de/artdok/7723/1/Dreher_History-of-Computer-Art_2020.pdf History of Computer Art]<br /> * David Maulén de los Reyes: [https://books.ub.uni-heidelberg.de/arthistoricum/catalog/book/843/chapter/11912 Re-Imagining Modernization in Chile—The Active School Movement, Integral Co-op Architecture, Second-Order Cybernetics—Lessons from the Bauhaus and Beyond]<br /> * C. Sollfrank, F. Stalder, S. Niederberger[https://www.diaphanes.net/titel/aesthetics-of-the-commons-6419 : Aesthetics of the commons]<br /> * [http://cyberneticserendipity.net/ Cybernetic Serendipity], [https://monoskop.org/Cybernetic_Serendipity Book] <br /> Artists:<br /> <br /> * [http://heavythinking.org/ Verena Friedrich] <br /> * [https://rlfbckr.io/ Ralf Baecker]<br /> *[https://nicolahein.com/ Nicola Hein]<br /> *[https://smitesmits.com/ Rasa Smite Raitis Smits]<br /> *[https://angelawashko.com/home.html Angela Wahsko]<br /> *[https://forensic-architecture.org/ Forensic Architecture]<br /> *[https://www.dwbowen.com/ David Bowen]<br /> *[https://www.lozano-hemmer.com/ Raphael Lozano-Hemmer]<br /> *[https://www.tate.org.uk/art/artists/gustav-metzger-7196 Gustav Metzger]<br /> *[https://jennasutela.com/ Jenna Sutela]<br /> *[https://www.walidraad.com/ Walid Raad]<br /> *[https://tranxxenolab.net/people/adriana_knouf/ Adriana Knouf]<br /> *[https://archiv.adk.de/bigobjekt/17126 Lutz Dammbeck]<br /> *[https://www.romansigner.ch/ Roman Signer]<br /> *[https://monoskop.org/Mierle_Laderman_Ukeles Mierle Laderman Ukeles]<br /> *[https://refikanadol.com/ Refik Anadol]</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Amelia_/Embodiment_Toolkit&diff=138338 Amelia /Embodiment Toolkit 2024-07-19T17:29:26Z <p>Wazi2364: </p> <hr /> <div>== WER BIN ICH WENN ICH NICHT ICH BIN? ==<br /> https://vimeo.com/962964298<br /> <br /> <br /> <br /> <br /> [[File:BildAusstellung.jpg|center|thumb|1105x1105px]]<br /> @ Christian Döller<br /> <br /> <br /> <br /> [[File:Exvero2.jpg|thumb|564x564px]][[File:Exvero.jpg|thumb|602x602px]][[File:Exvero3.jpg|thumb|560x560px]]<br /> <br /> <br /> <br /> This anti-orthesis serves as an understanding and speculative exploration of how we interact with our environment and networks, as well as a provocative tool for exploring the dualistic categories of objects and subjects.  This self-experience explores how our bodies are structured to understand the connections of our networks and to challenge conventional notions of how alternative body forms might alter our network of interactions and relationships. By preventing and abstracting everyday functions of the hands, this anti-orthesis causes a continuous restructuring of our perception and interaction with the environment, revealing the situatedness of human life realities, which enables awareness of other possible situatednesses and states.The interaction between human and object reveals the possibilities for action within our network and illuminates how our bodies and objects interact in a dynamic interplay of relationships. It aims to test the limits of the human body and questions the traditional master-servant dynamic between human and object. It provokes a re-evaluation of human agency and the agency of objects.<br /> <br /> <br /> <br /> Drawing on Haraway's essay of &quot;situated knowledge&quot; and Bruno Latour's actor-network theory, this project aims to clarify the limits of the human* through the constraint of the hand and its grasping function, thereby stimulating a re-evaluation of human agency and the agency of objects*. <br /> <br /> ANT serves as a framework for understanding this interaction, as it asserts that objects*/things have agency because they participate in networks of action, meaning and relationship, and thus the boundaries and dualisms of subject and object become fluid. <br /> <br /> Above all, however, Haraway's rejection of universal objectivity and the assertion that all knowledge comes from a &quot;situatedness&quot; also serves as a design parameter. Donna Haraway is of the opinion that knowledge cannot be universally objectified, as it varies and is evaluated considerably depending on the context. This perspective also extends to the understanding of bodily functions, whereby a body that deviates from social physical norms experiences a different reality than a body that conforms to the norms. Haraway challenges the notion of objectivity and asserts that all knowledge is inherently subjective and embedded in a network of relationships.<br /> <br /> These rings, as non-human actors, exercise agency by constraining human actions, thus changing the network of interaction and challenging views of domination and control. It promotes a new understanding of the complex and situational web of relationships that we refer to as our &quot;objective&quot; reality. By introducing conscious constraints and inversions, this anti-orthesis highlights often overlooked and unconscious dependencies and vulnerabilities in the relationship and boundaries between human* and object*. <br /> <br /> The design is intended to evoke an expanded state of consciousness and encourages users to reflect on their cognitive processes and overall connectivity, transforming perceptions to serve as a stepping stone for a shift in self-perception and collective consciousness. The anti-orthesis creates a symbiotic relationship between people*and objects*and entities in which each influences and improves the state of the other. Through their interaction, the network of these objects* and their users* has the potential to evolve into a conscious entity that is constantly adapting and gaining complexity and understanding about itself, as a human being.<br /> <br /> <br /> <br /> '''idea'''<br /> <br /> Create Anti-Orthosis to make aware of networkfunctions<br /> <br /> ''An orthosis is an orthopaedic aid that is externally attached to the body and is intended to relieve, stabilize or correct joints, muscles or bones, thereby supplementing their form and function.''<br /> <br /> &gt;&gt;&gt;&gt;&gt;&gt;<br /> <br /> To bring the body into the socially expected state in order to function and survive in the cultural and natural networks.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == PROCESS ==<br /> <br /> <br /> TOOLKIT FOR ENCOUNTERS<br /> <br /> <br /> What is Touch? Do I touch or am I touched? What to my hands encounter what my eyes dont? Observing afterwards. Looking back on what I touched. I grab, I touch, I let go? But what continues to stay with me? What sourrounds me that passes by? Why am I the Way I am and Who am I when I am not Myself?<br /> <br /> <br /> Abstracting functionalities<br /> <br /> [[File:ObservationTouch.pdf]]<br /> <br /> [[File:ObservationTouch .jpg|500x500px]][[File:ObservationTouch Seite 2 Bild 0001.jpg|500x500px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Diese Anti-Orthese dient dem Verständnis und der spekulativen Erforschung der Interaktion mit unserer Umwelt und Netzwerken,wie auch als provokatives Werkzeug zur Erforschung der Dualistischen Kategorien von Objekten und Subjekten.  Diese Selbsterfahrung untersucht, wie unser Körper strukturiert ist um die Verbindungen unserer Netzwerke zu verstehen und konventionelle Vorstellungen zu hinterfragen , wie alternative Körperformen unser Netzwerk von Interaktionen und Beziehungen verändern könnten.   Indem sie alltägliche Funktionen der Hände verhindert und abstrahiert, bewirkt diese Anti-Orthese eine kontinuierliche Umstrukturierung unserer Wahrnehmung und Interaktion mit der Umwelt und offenbart die situiertheit der menschlichen Lebensrealitäten, welche das Bewusstsein für weitere möglichen Situiertheiten und Zustände ermöglicht.<br /> <br /> Die Interaktion zwischen Mensch und Objekt offenbart die Handlungsmöglichkeiten innerhalb unseres Netzwerks und beleuchtet, wie unsere Körper und Objekte in einem dynamischen Wechselspiel  und Beziehungen interagieren. Es soll die Grenzen des menschlichen Körpers aus und stellt die traditionelle Herr-Diener-Dynamik zwischen Mensch und Objekt in Frage testen und provoziert eine Neubewertung der menschlichen Handlungsfähigkeit und der Handlungsfähigkeit von Objekten.<br /> <br /> <br /> <br /> Auf der Grundlage von Haraways Essay des „situierten Wissens“ und der Akteur-Netzwerk-Theorie  Bruno Latours zielt dieses Projekt darauf ab, die Grenzen des Menschen* durch die Einschränkung der Hand und ihrer Greiffunktion zu verdeutlichen und dadurch eine Neubewertung des menschlichen Handelns und des Handelns von Objekten* anzuregen. <br /> <br /> Die ANT dient als ein Rahmen für das Verständnis dieser Interaktion,da sie behauptet, dass Objekte*/Dinge  Handlungsfähigkeit besitzen, da sie an Handlungs- und Bedeutungs- und Beziehungsnetzwerken teilnehmen und somit die Grenzen und Dualismen von Subjekt und Objekt fluid werden. <br /> <br /> Vorallem aber auch Haraways Ablehnung einer universiellen Objektivität und der Berhauptung alles Wissen komme aus einer „Situiertheit“ dient als Gestaltungsparameter. Donna Haraway vertritt die Auffassung, dass Wissen nicht universell objektiviert werden kann, da es je nach Kontext erheblich variiert und bewertet wird. Diese Perspektive erstreckt sich auch auf das Verständnis von Körperfunktionen, wobei ein Körper, der von den gesellschaftlichen physischen Normen abweicht, eine andere Realität erfährt als ein Körper, der den Normen entspricht. Haraway stellt den Begriff der Objektivität in Frage und behauptet, dass alles Wissen von Natur aus subjektiv und in ein Netzwerk von Beziehungen eingebettet ist.<br /> <br /> Diese Ringe als nicht-menschliche Akteure üben Handlungsmacht aus, indem sie menschliche Handlungen einschränken und so das Interaktionsnetzwerk verändern und Ansichten von Herrschaft und Kontrolle in Frage stellen. Es fördert ein neues Verständnis des komplexen und situtionellen Beziehungsgeflechts, was wir als unsere „objektive“ Realität bezeichnen. Durch die Einführung bewusster Einschränkungen und Umkehrungen zeigt diese Anti-Orthese oft übersehene und nicht bewusste Abhängigkeiten und Schwachstellen in der Beziehung und Grenzen zwischen Mensch* und Objekt* auf. <br /> <br /> Das Design soll einen erweiterten Bewusstseinszustand hervorrufen und regt die Benutzer* dazu an, über ihre kognitiven Prozesse und die umfassende Konnektivität nachzudenken und Wahrnehmungen so zu transformieren, dass sie als Trittbrett für eine Veränderung der Selbstwahrnehmung und des kollektiven Bewusstseins dienen sol lund schafft eine symbiotische Beziehung zwischen Menschen*und Objekten* und Entitäten, in der jeder den Zustand des anderen beeinflusst und verbessert. Durch ihre Interaktion hat das Netzwerk aus diesen Objekten* und ihren Nutzern* das Potenzial, sich zu einer bewussten Einheit zu entwickeln, die sich ständig anpasst und an Komplexität und Verständnis über sich selbst gewinnt.<br /> <br /> &lt;nowiki&gt;*&lt;/nowiki&gt;sprachliche Verwendung der konventionellen Definitionen und Grenzen um eine verständliche Inhaltsvermittlung zu erschaffen</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Amelia_/Embodiment_Toolkit&diff=138337 Amelia /Embodiment Toolkit 2024-07-19T17:29:03Z <p>Wazi2364: </p> <hr /> <div>== WER BIN ICH WENN ICH NICHT ICH BIN? ==<br /> https://vimeo.com/962964298<br /> <br /> [[File:ObservationTouch.pdf]]<br /> <br /> <br /> <br /> [[File:BildAusstellung.jpg|center|thumb|1105x1105px]]<br /> @ Christian Döller<br /> <br /> <br /> <br /> [[File:Exvero2.jpg|thumb|564x564px]][[File:Exvero.jpg|thumb|602x602px]][[File:Exvero3.jpg|thumb|560x560px]]<br /> <br /> <br /> <br /> This anti-orthesis serves as an understanding and speculative exploration of how we interact with our environment and networks, as well as a provocative tool for exploring the dualistic categories of objects and subjects.  This self-experience explores how our bodies are structured to understand the connections of our networks and to challenge conventional notions of how alternative body forms might alter our network of interactions and relationships. By preventing and abstracting everyday functions of the hands, this anti-orthesis causes a continuous restructuring of our perception and interaction with the environment, revealing the situatedness of human life realities, which enables awareness of other possible situatednesses and states.The interaction between human and object reveals the possibilities for action within our network and illuminates how our bodies and objects interact in a dynamic interplay of relationships. It aims to test the limits of the human body and questions the traditional master-servant dynamic between human and object. It provokes a re-evaluation of human agency and the agency of objects.<br /> <br /> <br /> <br /> Drawing on Haraway's essay of &quot;situated knowledge&quot; and Bruno Latour's actor-network theory, this project aims to clarify the limits of the human* through the constraint of the hand and its grasping function, thereby stimulating a re-evaluation of human agency and the agency of objects*. <br /> <br /> ANT serves as a framework for understanding this interaction, as it asserts that objects*/things have agency because they participate in networks of action, meaning and relationship, and thus the boundaries and dualisms of subject and object become fluid. <br /> <br /> Above all, however, Haraway's rejection of universal objectivity and the assertion that all knowledge comes from a &quot;situatedness&quot; also serves as a design parameter. Donna Haraway is of the opinion that knowledge cannot be universally objectified, as it varies and is evaluated considerably depending on the context. This perspective also extends to the understanding of bodily functions, whereby a body that deviates from social physical norms experiences a different reality than a body that conforms to the norms. Haraway challenges the notion of objectivity and asserts that all knowledge is inherently subjective and embedded in a network of relationships.<br /> <br /> These rings, as non-human actors, exercise agency by constraining human actions, thus changing the network of interaction and challenging views of domination and control. It promotes a new understanding of the complex and situational web of relationships that we refer to as our &quot;objective&quot; reality. By introducing conscious constraints and inversions, this anti-orthesis highlights often overlooked and unconscious dependencies and vulnerabilities in the relationship and boundaries between human* and object*. <br /> <br /> The design is intended to evoke an expanded state of consciousness and encourages users to reflect on their cognitive processes and overall connectivity, transforming perceptions to serve as a stepping stone for a shift in self-perception and collective consciousness. The anti-orthesis creates a symbiotic relationship between people*and objects*and entities in which each influences and improves the state of the other. Through their interaction, the network of these objects* and their users* has the potential to evolve into a conscious entity that is constantly adapting and gaining complexity and understanding about itself, as a human being.<br /> <br /> <br /> <br /> '''idea'''<br /> <br /> Create Anti-Orthosis to make aware of networkfunctions<br /> <br /> ''An orthosis is an orthopaedic aid that is externally attached to the body and is intended to relieve, stabilize or correct joints, muscles or bones, thereby supplementing their form and function.''<br /> <br /> &gt;&gt;&gt;&gt;&gt;&gt;<br /> <br /> To bring the body into the socially expected state in order to function and survive in the cultural and natural networks.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == PROCESS ==<br /> <br /> <br /> TOOLKIT FOR ENCOUNTERS<br /> <br /> <br /> What is Touch? Do I touch or am I touched? What to my hands encounter what my eyes dont? Observing afterwards. Looking back on what I touched. I grab, I touch, I let go? But what continues to stay with me? What sourrounds me that passes by? Why am I the Way I am and Who am I when I am not Myself?<br /> <br /> <br /> Abstracting functionalities<br /> <br /> [[File:ObservationTouch .jpg|500x500px]][[File:ObservationTouch Seite 2 Bild 0001.jpg|500x500px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Diese Anti-Orthese dient dem Verständnis und der spekulativen Erforschung der Interaktion mit unserer Umwelt und Netzwerken,wie auch als provokatives Werkzeug zur Erforschung der Dualistischen Kategorien von Objekten und Subjekten.  Diese Selbsterfahrung untersucht, wie unser Körper strukturiert ist um die Verbindungen unserer Netzwerke zu verstehen und konventionelle Vorstellungen zu hinterfragen , wie alternative Körperformen unser Netzwerk von Interaktionen und Beziehungen verändern könnten.   Indem sie alltägliche Funktionen der Hände verhindert und abstrahiert, bewirkt diese Anti-Orthese eine kontinuierliche Umstrukturierung unserer Wahrnehmung und Interaktion mit der Umwelt und offenbart die situiertheit der menschlichen Lebensrealitäten, welche das Bewusstsein für weitere möglichen Situiertheiten und Zustände ermöglicht.<br /> <br /> Die Interaktion zwischen Mensch und Objekt offenbart die Handlungsmöglichkeiten innerhalb unseres Netzwerks und beleuchtet, wie unsere Körper und Objekte in einem dynamischen Wechselspiel  und Beziehungen interagieren. Es soll die Grenzen des menschlichen Körpers aus und stellt die traditionelle Herr-Diener-Dynamik zwischen Mensch und Objekt in Frage testen und provoziert eine Neubewertung der menschlichen Handlungsfähigkeit und der Handlungsfähigkeit von Objekten.<br /> <br /> <br /> <br /> Auf der Grundlage von Haraways Essay des „situierten Wissens“ und der Akteur-Netzwerk-Theorie  Bruno Latours zielt dieses Projekt darauf ab, die Grenzen des Menschen* durch die Einschränkung der Hand und ihrer Greiffunktion zu verdeutlichen und dadurch eine Neubewertung des menschlichen Handelns und des Handelns von Objekten* anzuregen. <br /> <br /> Die ANT dient als ein Rahmen für das Verständnis dieser Interaktion,da sie behauptet, dass Objekte*/Dinge  Handlungsfähigkeit besitzen, da sie an Handlungs- und Bedeutungs- und Beziehungsnetzwerken teilnehmen und somit die Grenzen und Dualismen von Subjekt und Objekt fluid werden. <br /> <br /> Vorallem aber auch Haraways Ablehnung einer universiellen Objektivität und der Berhauptung alles Wissen komme aus einer „Situiertheit“ dient als Gestaltungsparameter. Donna Haraway vertritt die Auffassung, dass Wissen nicht universell objektiviert werden kann, da es je nach Kontext erheblich variiert und bewertet wird. Diese Perspektive erstreckt sich auch auf das Verständnis von Körperfunktionen, wobei ein Körper, der von den gesellschaftlichen physischen Normen abweicht, eine andere Realität erfährt als ein Körper, der den Normen entspricht. Haraway stellt den Begriff der Objektivität in Frage und behauptet, dass alles Wissen von Natur aus subjektiv und in ein Netzwerk von Beziehungen eingebettet ist.<br /> <br /> Diese Ringe als nicht-menschliche Akteure üben Handlungsmacht aus, indem sie menschliche Handlungen einschränken und so das Interaktionsnetzwerk verändern und Ansichten von Herrschaft und Kontrolle in Frage stellen. Es fördert ein neues Verständnis des komplexen und situtionellen Beziehungsgeflechts, was wir als unsere „objektive“ Realität bezeichnen. Durch die Einführung bewusster Einschränkungen und Umkehrungen zeigt diese Anti-Orthese oft übersehene und nicht bewusste Abhängigkeiten und Schwachstellen in der Beziehung und Grenzen zwischen Mensch* und Objekt* auf. <br /> <br /> Das Design soll einen erweiterten Bewusstseinszustand hervorrufen und regt die Benutzer* dazu an, über ihre kognitiven Prozesse und die umfassende Konnektivität nachzudenken und Wahrnehmungen so zu transformieren, dass sie als Trittbrett für eine Veränderung der Selbstwahrnehmung und des kollektiven Bewusstseins dienen sol lund schafft eine symbiotische Beziehung zwischen Menschen*und Objekten* und Entitäten, in der jeder den Zustand des anderen beeinflusst und verbessert. Durch ihre Interaktion hat das Netzwerk aus diesen Objekten* und ihren Nutzern* das Potenzial, sich zu einer bewussten Einheit zu entwickeln, die sich ständig anpasst und an Komplexität und Verständnis über sich selbst gewinnt.<br /> <br /> &lt;nowiki&gt;*&lt;/nowiki&gt;sprachliche Verwendung der konventionellen Definitionen und Grenzen um eine verständliche Inhaltsvermittlung zu erschaffen</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Amelia_/Embodiment_Toolkit&diff=138336 Amelia /Embodiment Toolkit 2024-07-19T17:28:08Z <p>Wazi2364: </p> <hr /> <div>[[File:ObservationTouch.pdf|thumb]]<br /> <br /> == WER BIN ICH WENN ICH NICHT ICH BIN? ==<br /> https://vimeo.com/962964298<br /> <br /> <br /> [[File:BildAusstellung.jpg|center|thumb|1105x1105px]]<br /> @ Christian Döller<br /> <br /> <br /> <br /> [[File:Exvero2.jpg|thumb|564x564px]][[File:Exvero.jpg|thumb|602x602px]][[File:Exvero3.jpg|thumb|560x560px]]<br /> <br /> <br /> <br /> This anti-orthesis serves as an understanding and speculative exploration of how we interact with our environment and networks, as well as a provocative tool for exploring the dualistic categories of objects and subjects.  This self-experience explores how our bodies are structured to understand the connections of our networks and to challenge conventional notions of how alternative body forms might alter our network of interactions and relationships. By preventing and abstracting everyday functions of the hands, this anti-orthesis causes a continuous restructuring of our perception and interaction with the environment, revealing the situatedness of human life realities, which enables awareness of other possible situatednesses and states.The interaction between human and object reveals the possibilities for action within our network and illuminates how our bodies and objects interact in a dynamic interplay of relationships. It aims to test the limits of the human body and questions the traditional master-servant dynamic between human and object. It provokes a re-evaluation of human agency and the agency of objects.<br /> <br /> <br /> <br /> Drawing on Haraway's essay of &quot;situated knowledge&quot; and Bruno Latour's actor-network theory, this project aims to clarify the limits of the human* through the constraint of the hand and its grasping function, thereby stimulating a re-evaluation of human agency and the agency of objects*. <br /> <br /> ANT serves as a framework for understanding this interaction, as it asserts that objects*/things have agency because they participate in networks of action, meaning and relationship, and thus the boundaries and dualisms of subject and object become fluid. <br /> <br /> Above all, however, Haraway's rejection of universal objectivity and the assertion that all knowledge comes from a &quot;situatedness&quot; also serves as a design parameter. Donna Haraway is of the opinion that knowledge cannot be universally objectified, as it varies and is evaluated considerably depending on the context. This perspective also extends to the understanding of bodily functions, whereby a body that deviates from social physical norms experiences a different reality than a body that conforms to the norms. Haraway challenges the notion of objectivity and asserts that all knowledge is inherently subjective and embedded in a network of relationships.<br /> <br /> These rings, as non-human actors, exercise agency by constraining human actions, thus changing the network of interaction and challenging views of domination and control. It promotes a new understanding of the complex and situational web of relationships that we refer to as our &quot;objective&quot; reality. By introducing conscious constraints and inversions, this anti-orthesis highlights often overlooked and unconscious dependencies and vulnerabilities in the relationship and boundaries between human* and object*. <br /> <br /> The design is intended to evoke an expanded state of consciousness and encourages users to reflect on their cognitive processes and overall connectivity, transforming perceptions to serve as a stepping stone for a shift in self-perception and collective consciousness. The anti-orthesis creates a symbiotic relationship between people*and objects*and entities in which each influences and improves the state of the other. Through their interaction, the network of these objects* and their users* has the potential to evolve into a conscious entity that is constantly adapting and gaining complexity and understanding about itself, as a human being.<br /> <br /> <br /> <br /> '''idea'''<br /> <br /> Create Anti-Orthosis to make aware of networkfunctions<br /> <br /> ''An orthosis is an orthopaedic aid that is externally attached to the body and is intended to relieve, stabilize or correct joints, muscles or bones, thereby supplementing their form and function.''<br /> <br /> &gt;&gt;&gt;&gt;&gt;&gt;<br /> <br /> To bring the body into the socially expected state in order to function and survive in the cultural and natural networks.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == PROCESS ==<br /> <br /> <br /> TOOLKIT FOR ENCOUNTERS<br /> <br /> <br /> What is Touch? Do I touch or am I touched? What to my hands encounter what my eyes dont? Observing afterwards. Looking back on what I touched. I grab, I touch, I let go? But what continues to stay with me? What sourrounds me that passes by? Why am I the Way I am and Who am I when I am not Myself?<br /> <br /> <br /> Abstracting functionalities<br /> <br /> [[File:ObservationTouch .jpg|500x500px]][[File:ObservationTouch Seite 2 Bild 0001.jpg|500x500px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Diese Anti-Orthese dient dem Verständnis und der spekulativen Erforschung der Interaktion mit unserer Umwelt und Netzwerken,wie auch als provokatives Werkzeug zur Erforschung der Dualistischen Kategorien von Objekten und Subjekten.  Diese Selbsterfahrung untersucht, wie unser Körper strukturiert ist um die Verbindungen unserer Netzwerke zu verstehen und konventionelle Vorstellungen zu hinterfragen , wie alternative Körperformen unser Netzwerk von Interaktionen und Beziehungen verändern könnten.   Indem sie alltägliche Funktionen der Hände verhindert und abstrahiert, bewirkt diese Anti-Orthese eine kontinuierliche Umstrukturierung unserer Wahrnehmung und Interaktion mit der Umwelt und offenbart die situiertheit der menschlichen Lebensrealitäten, welche das Bewusstsein für weitere möglichen Situiertheiten und Zustände ermöglicht.<br /> <br /> Die Interaktion zwischen Mensch und Objekt offenbart die Handlungsmöglichkeiten innerhalb unseres Netzwerks und beleuchtet, wie unsere Körper und Objekte in einem dynamischen Wechselspiel  und Beziehungen interagieren. Es soll die Grenzen des menschlichen Körpers aus und stellt die traditionelle Herr-Diener-Dynamik zwischen Mensch und Objekt in Frage testen und provoziert eine Neubewertung der menschlichen Handlungsfähigkeit und der Handlungsfähigkeit von Objekten.<br /> <br /> <br /> <br /> Auf der Grundlage von Haraways Essay des „situierten Wissens“ und der Akteur-Netzwerk-Theorie  Bruno Latours zielt dieses Projekt darauf ab, die Grenzen des Menschen* durch die Einschränkung der Hand und ihrer Greiffunktion zu verdeutlichen und dadurch eine Neubewertung des menschlichen Handelns und des Handelns von Objekten* anzuregen. <br /> <br /> Die ANT dient als ein Rahmen für das Verständnis dieser Interaktion,da sie behauptet, dass Objekte*/Dinge  Handlungsfähigkeit besitzen, da sie an Handlungs- und Bedeutungs- und Beziehungsnetzwerken teilnehmen und somit die Grenzen und Dualismen von Subjekt und Objekt fluid werden. <br /> <br /> Vorallem aber auch Haraways Ablehnung einer universiellen Objektivität und der Berhauptung alles Wissen komme aus einer „Situiertheit“ dient als Gestaltungsparameter. Donna Haraway vertritt die Auffassung, dass Wissen nicht universell objektiviert werden kann, da es je nach Kontext erheblich variiert und bewertet wird. Diese Perspektive erstreckt sich auch auf das Verständnis von Körperfunktionen, wobei ein Körper, der von den gesellschaftlichen physischen Normen abweicht, eine andere Realität erfährt als ein Körper, der den Normen entspricht. Haraway stellt den Begriff der Objektivität in Frage und behauptet, dass alles Wissen von Natur aus subjektiv und in ein Netzwerk von Beziehungen eingebettet ist.<br /> <br /> Diese Ringe als nicht-menschliche Akteure üben Handlungsmacht aus, indem sie menschliche Handlungen einschränken und so das Interaktionsnetzwerk verändern und Ansichten von Herrschaft und Kontrolle in Frage stellen. Es fördert ein neues Verständnis des komplexen und situtionellen Beziehungsgeflechts, was wir als unsere „objektive“ Realität bezeichnen. Durch die Einführung bewusster Einschränkungen und Umkehrungen zeigt diese Anti-Orthese oft übersehene und nicht bewusste Abhängigkeiten und Schwachstellen in der Beziehung und Grenzen zwischen Mensch* und Objekt* auf. <br /> <br /> Das Design soll einen erweiterten Bewusstseinszustand hervorrufen und regt die Benutzer* dazu an, über ihre kognitiven Prozesse und die umfassende Konnektivität nachzudenken und Wahrnehmungen so zu transformieren, dass sie als Trittbrett für eine Veränderung der Selbstwahrnehmung und des kollektiven Bewusstseins dienen sol lund schafft eine symbiotische Beziehung zwischen Menschen*und Objekten* und Entitäten, in der jeder den Zustand des anderen beeinflusst und verbessert. Durch ihre Interaktion hat das Netzwerk aus diesen Objekten* und ihren Nutzern* das Potenzial, sich zu einer bewussten Einheit zu entwickeln, die sich ständig anpasst und an Komplexität und Verständnis über sich selbst gewinnt.<br /> <br /> &lt;nowiki&gt;*&lt;/nowiki&gt;sprachliche Verwendung der konventionellen Definitionen und Grenzen um eine verständliche Inhaltsvermittlung zu erschaffen</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:BildAusstellung.jpg&diff=138335 File:BildAusstellung.jpg 2024-07-19T17:25:10Z <p>Wazi2364: </p> <hr /> <div>Bild Ausstellung</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:ObservationTouch.pdf&diff=138334 File:ObservationTouch.pdf 2024-07-19T17:22:33Z <p>Wazi2364: </p> <hr /> <div>Experiment Documentation</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Aftetouch.jpg&diff=138333 File:Aftetouch.jpg 2024-07-19T17:20:22Z <p>Wazi2364: </p> <hr /> <div>Aftertouch</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Amelia_/Embodiment_Toolkit&diff=138332 Amelia /Embodiment Toolkit 2024-07-19T17:19:15Z <p>Wazi2364: </p> <hr /> <div><br /> <br /> https://vimeo.com/962964298<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> [[File:Exvero2.jpg|thumb|564x564px]][[File:Exvero.jpg|thumb|602x602px]][[File:Exvero3.jpg|thumb|560x560px]]<br /> <br /> <br /> This anti-thesis serves as an understanding and speculative exploration of how we interact with our environment and networks, as well as a provocative tool for exploring the dualistic categories of objects and subjects.  This self-experience explores how our bodies are structured to understand the connections of our networks and to challenge conventional notions of how alternative body forms might alter our network of interactions and relationships. By preventing and abstracting everyday functions of the hands, this anti-orthesis causes a continuous restructuring of our perception and interaction with the environment, revealing the situatedness of human life realities, which enables awareness of other possible situatednesses and states.The interaction between human and object reveals the possibilities for action within our network and illuminates how our bodies and objects interact in a dynamic interplay of relationships. It aims to test the limits of the human body and questions the traditional master-servant dynamic between human and object. It provokes a re-evaluation of human agency and the agency of objects.<br /> <br /> <br /> <br /> Drawing on Haraway's essay of &quot;situated knowledge&quot; and Bruno Latour's actor-network theory, this project aims to clarify the limits of the human* through the constraint of the hand and its grasping function, thereby stimulating a re-evaluation of human agency and the agency of objects*. <br /> <br /> ANT serves as a framework for understanding this interaction, as it asserts that objects*/things have agency because they participate in networks of action, meaning and relationship, and thus the boundaries and dualisms of subject and object become fluid. <br /> <br /> Above all, however, Haraway's rejection of universal objectivity and the assertion that all knowledge comes from a &quot;situatedness&quot; also serves as a design parameter. Donna Haraway is of the opinion that knowledge cannot be universally objectified, as it varies and is evaluated considerably depending on the context. This perspective also extends to the understanding of bodily functions, whereby a body that deviates from social physical norms experiences a different reality than a body that conforms to the norms. Haraway challenges the notion of objectivity and asserts that all knowledge is inherently subjective and embedded in a network of relationships.<br /> <br /> These rings, as non-human actors, exercise agency by constraining human actions, thus changing the network of interaction and challenging views of domination and control. It promotes a new understanding of the complex and situational web of relationships that we refer to as our &quot;objective&quot; reality. By introducing conscious constraints and inversions, this anti-orthesis highlights often overlooked and unconscious dependencies and vulnerabilities in the relationship and boundaries between human* and object*. <br /> <br /> The design is intended to evoke an expanded state of consciousness and encourages users to reflect on their cognitive processes and overall connectivity, transforming perceptions to serve as a stepping stone for a shift in self-perception and collective consciousness. The anti-orthesis creates a symbiotic relationship between people*and objects*and entities in which each influences and improves the state of the other. Through their interaction, the network of these objects* and their users* has the potential to evolve into a conscious entity that is constantly adapting and gaining complexity and understanding about itself, as a human being.<br /> <br /> <br /> <br /> '''idea'''<br /> <br /> Create Anti-Orthosis to make aware of networkfunctions<br /> <br /> ''An orthosis is an orthopaedic aid that is externally attached to the body and is intended to relieve, stabilize or correct joints, muscles or bones, thereby supplementing their form and function.''<br /> <br /> &gt;&gt;&gt;&gt;&gt;&gt;<br /> <br /> To bring the body into the socially expected state in order to function and survive in the cultural and natural networks.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == PROCESS ==<br /> <br /> <br /> TOOLKIT FOR ENCOUNTERS<br /> <br /> <br /> What is Touch? Do I touch or am I touched? What to my hands encounter what my eyes dont? Observing afterwards. Looking back on what I touched. I grab, I touch, I let go? But what continues to stay with me? What sourrounds me that passes by? Why am I the Way I am and Who am I when I am not Myself?<br /> <br /> <br /> Abstracting functionalities<br /> <br /> [[File:ObservationTouch .jpg|500x500px]][[File:ObservationTouch Seite 2 Bild 0001.jpg|500x500px]]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Diese Anti-Orthese dient dem Verständnis und der spekulativen Erforschung der Interaktion mit unserer Umwelt und Netzwerken,wie auch als provokatives Werkzeug zur Erforschung der Dualistischen Kategorien von Objekten und Subjekten.  Diese Selbsterfahrung untersucht, wie unser Körper strukturiert ist um die Verbindungen unserer Netzwerke zu verstehen und konventionelle Vorstellungen zu hinterfragen , wie alternative Körperformen unser Netzwerk von Interaktionen und Beziehungen verändern könnten.   Indem sie alltägliche Funktionen der Hände verhindert und abstrahiert, bewirkt diese Anti-Orthese eine kontinuierliche Umstrukturierung unserer Wahrnehmung und Interaktion mit der Umwelt und offenbart die situiertheit der menschlichen Lebensrealitäten, welche das Bewusstsein für weitere möglichen Situiertheiten und Zustände ermöglicht.<br /> <br /> Die Interaktion zwischen Mensch und Objekt offenbart die Handlungsmöglichkeiten innerhalb unseres Netzwerks und beleuchtet, wie unsere Körper und Objekte in einem dynamischen Wechselspiel  und Beziehungen interagieren. Es soll die Grenzen des menschlichen Körpers aus und stellt die traditionelle Herr-Diener-Dynamik zwischen Mensch und Objekt in Frage testen und provoziert eine Neubewertung der menschlichen Handlungsfähigkeit und der Handlungsfähigkeit von Objekten.<br /> <br /> <br /> <br /> Auf der Grundlage von Haraways Essay des „situierten Wissens“ und der Akteur-Netzwerk-Theorie  Bruno Latours zielt dieses Projekt darauf ab, die Grenzen des Menschen* durch die Einschränkung der Hand und ihrer Greiffunktion zu verdeutlichen und dadurch eine Neubewertung des menschlichen Handelns und des Handelns von Objekten* anzuregen. <br /> <br /> Die ANT dient als ein Rahmen für das Verständnis dieser Interaktion,da sie behauptet, dass Objekte*/Dinge  Handlungsfähigkeit besitzen, da sie an Handlungs- und Bedeutungs- und Beziehungsnetzwerken teilnehmen und somit die Grenzen und Dualismen von Subjekt und Objekt fluid werden. <br /> <br /> Vorallem aber auch Haraways Ablehnung einer universiellen Objektivität und der Berhauptung alles Wissen komme aus einer „Situiertheit“ dient als Gestaltungsparameter. Donna Haraway vertritt die Auffassung, dass Wissen nicht universell objektiviert werden kann, da es je nach Kontext erheblich variiert und bewertet wird. Diese Perspektive erstreckt sich auch auf das Verständnis von Körperfunktionen, wobei ein Körper, der von den gesellschaftlichen physischen Normen abweicht, eine andere Realität erfährt als ein Körper, der den Normen entspricht. Haraway stellt den Begriff der Objektivität in Frage und behauptet, dass alles Wissen von Natur aus subjektiv und in ein Netzwerk von Beziehungen eingebettet ist.<br /> <br /> Diese Ringe als nicht-menschliche Akteure üben Handlungsmacht aus, indem sie menschliche Handlungen einschränken und so das Interaktionsnetzwerk verändern und Ansichten von Herrschaft und Kontrolle in Frage stellen. Es fördert ein neues Verständnis des komplexen und situtionellen Beziehungsgeflechts, was wir als unsere „objektive“ Realität bezeichnen. Durch die Einführung bewusster Einschränkungen und Umkehrungen zeigt diese Anti-Orthese oft übersehene und nicht bewusste Abhängigkeiten und Schwachstellen in der Beziehung und Grenzen zwischen Mensch* und Objekt* auf. <br /> <br /> Das Design soll einen erweiterten Bewusstseinszustand hervorrufen und regt die Benutzer* dazu an, über ihre kognitiven Prozesse und die umfassende Konnektivität nachzudenken und Wahrnehmungen so zu transformieren, dass sie als Trittbrett für eine Veränderung der Selbstwahrnehmung und des kollektiven Bewusstseins dienen sol lund schafft eine symbiotische Beziehung zwischen Menschen*und Objekten* und Entitäten, in der jeder den Zustand des anderen beeinflusst und verbessert. Durch ihre Interaktion hat das Netzwerk aus diesen Objekten* und ihren Nutzern* das Potenzial, sich zu einer bewussten Einheit zu entwickeln, die sich ständig anpasst und an Komplexität und Verständnis über sich selbst gewinnt.<br /> <br /> &lt;nowiki&gt;*&lt;/nowiki&gt;sprachliche Verwendung der konventionellen Definitionen und Grenzen um eine verständliche Inhaltsvermittlung zu erschaffen</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:ObservationTouch_Seite_2_Bild_0001.jpg&diff=138331 File:ObservationTouch Seite 2 Bild 0001.jpg 2024-07-19T17:17:34Z <p>Wazi2364: </p> <hr /> <div>Observingtouch</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:ObservationTouch_.jpg&diff=138330 File:ObservationTouch .jpg 2024-07-19T17:16:01Z <p>Wazi2364: </p> <hr /> <div>Observationtouc</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Technical_Setup&diff=138329 Technical Setup 2024-07-19T16:52:31Z <p>Wazi2364: </p> <hr /> <div>'''Technical Equipment'''<br /> <br /> - ESP 32 development board (Wroom)<br /> <br /> - 2x TB6600 4A 9-42V Stepper Steppermotor Driver<br /> <br /> - 2x 4A universal AC - DC power supply with variable voltage setting option and USB power<br /> <br /> output (Cshare)<br /> <br /> - 2x Nema 23 12V 4,4A, 10mm shaft (Rtelligent)<br /> <br /> - cut up CAT6 flat cable for control signals<br /> <br /> - various breadboard cables<br /> <br /> - HD Mediaplayer with USB, SD playback and various AV outputs<br /> <br /> - self built 7V stereo headphone amplifier<br /> <br /> - 16:9 1920 x 1080p HD display on wallmount<br /> <br /> - HDMI Cable 2m<br /> <br /> - 2x 4 plug socket (1x white for wall, 1x black for stepper drivers)<br /> <br /> <br /> '''Setup'''<br /> <br /> <br /> The two wooden stands are fitted with the bearing holders and the axle with the „drum“ for the rope attached in the middle at the top. The stands must be aligned properly. The chain should already be placed over the large sprocket. The motors are attached to the stands using metal clamps and positioned so that the chain has sufficient tension. The motor drivers are screwed onto both stands below the motors. All dip switches need to be turned to the off position to limit the current to 4A and set it to the highest microstepping mode. Additionally, the ESP32 board is mounted on one of the stands. Everything is then wired according to the wiring diagram. A Cat 5 cable is used to transmit<br /> <br /> the control signals to the motor driver on the other stand (3 m distance). Next, the middle column with the two metal rings, through which the rope must be threaded, should be placed centrally between the stands. The stands should be positioned so that the rope runs parallel and does not jam in the rings. The rope is then coiled as smoothly as possible without twists and placed near the reforestation stand (-stepsBackward). After that, the rope is laid over both drums and allowed to hang down on the deforestation side (+stepsForward).The screen is mounted at eye level next to the „player box“ at a suitable spot on the wall and connected via HDMI. Finally, the headphones are connected, completing the setup. <br /> <br /> Now testing can begin.<br /> <br /> [[File:CodeRefluxDeflux.jpg|left|1000x1000px]][[File:Wiring diagram reflux deflux.jpg|left|thumb|414x414px]]</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Technical_Setup&diff=138328 Technical Setup 2024-07-19T16:52:05Z <p>Wazi2364: </p> <hr /> <div>'''Technical Equipment'''<br /> <br /> - ESP 32 development board (Wroom)<br /> <br /> - 2x TB6600 4A 9-42V Stepper Steppermotor Driver<br /> <br /> - 2x 4A universal AC - DC power supply with variable voltage setting option and USB power<br /> <br /> output (Cshare)<br /> <br /> - 2x Nema 23 12V 4,4A, 10mm shaft (Rtelligent)<br /> <br /> - cut up CAT6 flat cable for control signals<br /> <br /> - various breadboard cables<br /> <br /> - HD Mediaplayer with USB, SD playback and various AV outputs<br /> <br /> - self built 7V stereo headphone amplifier<br /> <br /> - 16:9 1920 x 1080p HD display on wallmount<br /> <br /> - HDMI Cable 2m<br /> <br /> - 2x 4 plug socket (1x white for wall, 1x black for stepper drivers)<br /> <br /> <br /> '''Setup'''<br /> <br /> <br /> The two wooden stands are fitted with the bearing holders and the axle with the „drum“ for the rope attached in the middle at the top. The stands must be aligned properly. The chain should already be placed over the large sprocket. The motors are attached to the stands using metal clamps and positioned so that the chain has sufficient tension. The motor drivers are screwed onto both stands below the motors. All dip switches need to be turned to the off position to limit the current to 4A and set it to the highest microstepping mode. Additionally, the ESP32 board is mounted on one of the stands. Everything is then wired according to the wiring diagram. A Cat 5 cable is used to transmit<br /> <br /> the control signals to the motor driver on the other stand (3 m distance). Next, the middle column with the two metal rings, through which the rope must be threaded, should be placed centrally between the stands. The stands should be positioned so that the rope runs parallel and does not jam in the rings. The rope is then coiled as smoothly as possible without twists and placed near the reforestation stand (-stepsBackward). After that, the rope is laid over both drums and allowed to hang down on the deforestation side (+stepsForward).The screen is mounted at eye level next to the „player box“ at a suitable spot on the wall and connected via HDMI. Finally, the headphones are connected, completing the setup. <br /> <br /> Now testing can begin.<br /> <br /> [[File:CodeRefluxDeflux.jpg|left|1000x1000px]]<br /> '''Wiring Diagram'''<br /> <br /> [[File:Wiring diagram reflux deflux.jpg|left|thumb|414x414px]]</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Wiring_diagram_reflux_deflux.jpg&diff=138327 File:Wiring diagram reflux deflux.jpg 2024-07-19T16:50:05Z <p>Wazi2364: </p> <hr /> <div>wiring diagram reflux deflux</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:CodeRefluxDeflux.jpg&diff=138326 File:CodeRefluxDeflux.jpg 2024-07-19T16:46:47Z <p>Wazi2364: </p> <hr /> <div>CodeRefluxDeflux</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Fred_%26_Amelia&diff=138325 Fred & Amelia 2024-07-19T16:35:47Z <p>Wazi2364: </p> <hr /> <div>= '''Reflux Deflux''' =<br /> [[File:Bilddokuuu.jpg|thumb|574x574px]]<br /> In this tug-of-war, the two forces of deforestation and reforestation in the world‘s forest areas measure their strength. Based on live data, the forces alternate. Depending on the number of hectares taken, the rope is pulled in the dominant direction. The length of the rope is divided into the 25600 hectares that are on average cut down within 8 hours. The distance between the rings is exactly one hectare. The video aims to make the dimension of one hectare tangible by circulating one hectare.<br /> <br /> ===== [[File:Qr_code_hectare.png|101x101px]]Video Framing One Hectare =====<br /> <br /> ===== [[File:QR_Code_Documentation.png|100x100px]]Video Documentation =====<br /> [[File:RefluxDefluxTotal.jpg|center|thumb|1083x1083px]]<br /> <br /> <br /> <br /> <br /> [[Context]]<br /> <br /> [[Technical Setup]]<br /> <br /> [[Additional]]</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Fred_%26_Amelia&diff=138324 Fred & Amelia 2024-07-19T16:32:52Z <p>Wazi2364: </p> <hr /> <div>= '''Reflux Deflux''' =<br /> [[File:Bilddokuuu.jpg|thumb|574x574px]]<br /> In this tug-of-war, the two forces of deforestation and reforestation in the world‘s forest areas measure their strength. Based on live data, the forces alternate. Depending on the number of hectares taken, the rope is pulled in the dominant direction. The length of the rope is divided into the 25600 hectares that are on average cut down within 8 hours. The distance between the rings is exactly one hectare. The video aims to make the dimension of one hectare tangible by circulating one hectare.<br /> <br /> <br /> [[File:Qr code hectare.png|thumb|87x87px]]<br /> <br /> <br /> [[File:QR Code Documentation.png|left|thumb|87x87px]]<br /> <br /> <br /> <br /> '''Video Documentation Video Framing One Hectare'''[[File:RefluxDefluxTotal.jpg|center|thumb|1083x1083px]]<br /> <br /> <br /> <br /> <br /> [[Context]]<br /> <br /> [[Technical Setup]]<br /> <br /> [[Additional]]</div> Wazi2364 https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=Fred_%26_Amelia&diff=138323 Fred & Amelia 2024-07-19T16:32:13Z <p>Wazi2364: /* Video Framing One Hectare */</p> <hr /> <div>= '''Reflux Deflux''' =<br /> [[File:Bilddokuuu.jpg|thumb|574x574px]]<br /> In this tug-of-war, the two forces of deforestation and reforestation in the world‘s forest areas measure their strength. Based on live data, the forces alternate. Depending on the number of hectares taken, the rope is pulled in the dominant direction. The length of the rope is divided into the 25600 hectares that are on average cut down within 8 hours. The distance between the rings is exactly one hectare. The video aims to make the dimension of one hectare tangible by circulating one hectare.<br /> <br /> <br /> [[File:Qr code hectare.png|thumb|87x87px]]<br /> <br /> <br /> [[File:QR Code Documentation.png|left|thumb|87x87px]]<br /> ==== '''Video Documentation Video Framing One Hectare''' ====<br /> [[File:RefluxDefluxTotal.jpg|center|thumb|1083x1083px]]<br /> <br /> <br /> <br /> <br /> [[Context]]<br /> <br /> [[Technical Setup]]<br /> <br /> [[Additional]]</div> Wazi2364