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Sehen
(2022)
Ästhetik ist ein alter Hut
(2021)
Der Anlass dieses Buches ist die Erfindung der Ästhetik vor 270 Jahren in Brandenburg. In 30 ausgewählten Essays, die mit neuen Illustrationen und alten Zitaten geschmückt sind, werden die Grundfragen der Ästhetik auf Natur, Alltag, Kultur und Kunst bezogen. Das Spektrum der Themen reicht dabei von Nailart, Latte Art und Fesselungskunst über ästhetische Chirurgie, Nordlichter und Graffitis bis hin zur Ästhetik von rauchenden Frauen im Film, geklebten Blumen-Wand-Tattoos sowie entenförmigen Frühstücksbrettchen.
Creative coding is a form of postdigital art that uses programming to solve esthetical problems, subordinating functionality to expression. It often comes with rather uncommon usage patterns of coding, going beyond technologies' affordances and finding ways of appropriating them in an individual way and in exchange with others. The learning ecologies GitHub, Stack Overflow, and Pouët present digital infrastructures that curate and support such appropriation-related activities. The paper presents a qualitative analysis of the structure of these spaces, and the appropriation-related communication taking place. It shows how crucial the varying designs of the learning ecologies and the implemented interaction possibilities are for the appropriation activities taking place and draws a line to the desire for stronger participation in postdigital curation.
Der Beitrag spürt der Frage nach, auf welche Weise sich künstlerische und kuratorische Prozesse sowie die Vermittlungsarbeit unter dem Einfluss postdigitaler Künste verändern. Auf Basis einer begriffstheoretischen Analyse, einer qualitativen Interviewstudie mit digital arbeitenden Künstler*innen und Kurator*innen sowie einer Clusteranalyse postdigitaler Kunstbeispiele wird eine Handreichung zu Bedarfen zeitgenössischer Kunst- und Ausstellungsproduktion entwickelt. Die analysierten Handlungsempfehlungen werden entlang des zentralen Arguments empathischer Feedbackschleifen im Ausstellen konzipiert.
un/natural surrogates
(2021)
The visual essay is an extension of the 2019 online exhibition un/natural surrogates which was created as part of the research project "Postdigital Art Practices in Cultural Education". The essay contrasts thirteen artworks from that show with thirteen newly selected artworks from the last seventy years, based on aesthetic similarities, parallels in the subject matter, and other related characteristics of the works. In doing so, an ahistorical story without -isms is offered.
Herzfassen
(2012)
Herzfassen is a self-contained kinetic object that uses physical computing and biometric data to provide a highly aesthetic and sensual experience while still having the outer appearance of an ordinary everyday object. A metal bowl filled with water visualizes the human heartbeat through vibration and according patterns in the water surface. The title Herzfassen derives from the german expression for 'to take heart' thus hints to the haptic and emotional experience with the object.
This paper describes aim and design of the piece, comprising construction, technical function, as well as the interaction cycle respectively the object's dramaturgy. Further, it reports on audience's joyful and emotional experiences with the object within past exhibitions as display and use hence human contact is the main purpose of Herzfassen.
Living With Things
(2012)
This paper describes the conceptual object series Living with Things: seven working prototypes of electronically and mechanically altered everyday objects that explore emotional engagement through interaction design. It outlines aim, design and the interaction design model that was developed and applied. Further it looks at scenarios and experiences from the objects in use and finally places them in the larger context of my current PhD research into The Design of Idleness. This research looks at social acceleration from a design perspective and investigates the paradoxical potential of interaction design to contribute to the much-needed social and societal slowdown.
This report looks at a higher education design class as a design case for teaching participatory design methods to beginning design students from different design disciplines (communication, product, and interface design). The class was an experiment in so far as basic design education usually focuses on other elementary aspects first, such as form, color, representation, etc. The experiment ́s purpose was to confront design students very early on in the program with a participatory design approach and find out how well they can handle and apply it and how valuable it is for their basic design education. The report describes the overall aim, structure, process, and outcomes of the design class at University of Applied Sciences Potsdam and takes a peep into the near future.
The University of Applied Sciences FH Potsdam is known for its wide-ranging design education: Product and communications designers have been trained here since 1992, interface designers since 2003. In order to highlight the potentials as well as the difficulties and limitations of inquiry-based learning in the discipline of design, several design professors from the department who had already implemented inquiry-based learning in their teaching practice were invited to a discussion in August of 2015.
Our Symbiotic Life
(2019)
We will explore four plausible futures and experiment on a speculative approach to investigate "wicked problems" [14]. Grounded in the field of design fiction, this work combines insights from the climate impact research community, technology meta trends, and plant science, all of which work as a basis for the exploration of relationships between humans, plants, and technology. Based on scenarios from the climate impact research community, we prototyped four plausible worlds and visualized exemplary scenes in the daily life of the plausible citizens. Sketching and low-fidelity prototyping supported the process of gaining knowledge and iterating on storytelling.