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Waste equals Food?
(2026)
Der Beitrag untersucht – ausgehend von ihrer Dominanz in nachhaltigkeitsorientierten Designdiskursen – zirkuläre Metaphern wie Recycling, Circular Economy und Kreislaufwirtschaft. Diese häufig im Kontext des SDG 12 „Nachhaltige Produktion und Konsum“ verorteten Kreislaufbilder tragen dazu bei, Abfälle und Reste unsichtbar zu machen. Im Gegensatz dazu wird mit Design from Discard (DfD) ein Ansatz vorgestellt, der Abfall als Analysegegenstand und Startpunkt versteht und dabei Machtkonstellationen, Praktiken des Wegwerfens sowie gesellschaftliche Bewertungsprozesse einbezieht. Im Textildesign verdeutlicht das Projekt FatPad, dass einheimische Schafwolle – bislang als Abfall behandelt – durch die Kombination von Wollfaser und Wollfett zu einem regionalen, gesundheitsfördernden Material transformiert werden kann. Die Betrachtung der Potenziale des Food Designs für eine Ernährungswende anhand verschiedener Projekte, illustriert dass auch die Rolle des Designs selbst eine neue Bewertung erfahren muss. Die Ergebnisse zeigen, dass DfD soziale, materielle und kulturelle Dimensionen von Nachhaltigkeit integriert und Gestaltung als reflexive Praxis positioniert, die gängige Kreislaufmodelle kritisch erweitert.
The paper discusses the the contemporary development of the practice and theory of visualisation culture. It looks at the prevailing ideas and narratives regarding data and its visual representation from a media cultural studies perspective. It analyses a dominant model of affirmative visualisation that shapes the cultural technique in its data-positivist and representation-centric stance, arguing that it often overlooks the evolving socio-technical landscape and fails to address critical questions about context, intention, and author responsibility. The paper proposes that the potential of data visualisation lies in its adaptability to changing conditions and suggests a need to reconsider prevailing models that prioritise efficiency legibility over self-reflection and context.
From evidence to testimony
(2026)
The essay looks closely at Exhibit A-i: The Refugee Account (2023), a collaborative human rights project communicating the experience of 32 refugees detained by the Australian government in offshore processing centers under inhumane conditions. To make up for the lack of images, they used the AI-powered text-image generator Midjourney. Analyzing the project, I am interested in how to conceptually approach these images that refer to the history and theory of photography but do not share photography’s ontology. Drawing both on traditional photo theory and memory studies as well as literature dealing with algorithmic images, I make an argument for these images to constitute a new kind of testimony, where individual memory and collective image archive intersect. To do so, I draw on select modes of production of AI-generated images, detailing aspects such as the linking of text and image as well as the reliance on noise to make a representation. While acknowledging the power asymmetries between the Global North and Global South inherent to AI, I argue that projects such as Exhibit A-i can appropriate the technology to question its use in migration policies, all the while demanding from the audience to reflect on its own implication.
We present a web-based environment that connects annotation, abstraction, and argumentation during the interpretation of text. As a visual interface for scholarly reading and writing, Textarium combines human analysis with lightweight computational processing to bridge close and distant reading practices. Readers can highlight text, group keywords into concepts, and embed these observations as anchors in essays. The interface renders these interpretive actions as parameterized visualization states. Through a speculative design process of co-creative and iterative prototyping, we developed a reading-writing approach that makes interpretive processes transparent and shareable within digital narratives.
Fugitive Heat
(2026)
Instrumental Data
(2025)
Climate and migration are not just bound together on a political or metaphorical level but their relationship is also coupled in the joint application of data. Building on Allan Sekula’s notion of the instrumental image developed in light of aerial composite photographs taken during World War I, we propose to speak of instrumental data to describe operative platforms fusing data from satellites, social media, and local sensors and using them for divergent political ends, most notably the control of borders and the quality of water, air, and crops in Europe. Taking the EU-funded pilot project CALLISTO as a case study, we combine media-theoretical analysis, artistic research, and critical data visualization to address the nexus of visualization, decision making, and control effected by the ways in which the platform promises to make satellite data operable, ultimately fusing not just data but also the corresponding social fields of climate and migration.
Nomadic Camera
(2026)
From its introduction in the early nineteenth century and through ongoing technical developments, photography has been a mobile medium closely tied to equipment, social conditions and cultural framings. The volume Nomadic Camera investigates the technical, medial and aesthetic relationship between photography and displacement in historical and contemporary perspectives. The contributing authors adopt the term ‘nomadic’ – signifying a transitory form of existence – to explore photography beyond static concepts of being and national boundaries. Viewing photography as a formative part of this history of mobility and migration, the book explores the interplay between the concepts of the ‘nomadic’ and the ‘camera’, offering new perspectives on photography as a medium on the move. The interdisciplinary contributions approach this topic from various angles. They examine photographic tools and technologies; investigate the role of bodies, agents, and performative acts in photographic practices; explore how photography constructs and conveys narratives of movement; and address issues of image circulation, archiving, and memory.