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In a state of ontological crisis, all boundaries between human and machine, nature and culture, and the organic and inorganic have been severely blurred. These are times of curious contrivances, novel natures, inescapable automation, and posthuman performances – where human and nonhuman find themselves being entwined, meshed and muddled into new unwitting entanglements. But from biased machine-learning to surveillance capitalism and digital colonisation – what power-structures are implicitly and covertly being embedded into these technologies?
In a demand for more transparency, multiple movements are making a turn toward democratising knowledge and technology. They are exploring the potentials of open data, software, hardware and wetware to battle concealed hierarchies and partisan paradigms – eliciting a practice of counter-coding in a proliferating politics of machines.
Within the Politics of the Machines conference series – following Copenhagen (2018) and Beirut (2019), the third POM conference took place as a hybrid conference on the 14-17 of September 2021, hosted by the chair for Open Science at the Technische Universität Berlin / Einstein Center Digital Future and the Berlin University of the Arts / Weizenbaum Institute.
The goal of this edition of POM was to debate and devise concepts and practices that seek to critically question and unravel novel modes of science – what roles do academia, researchers, scientists, artists and designers have to take on in times of crisis, how must we re/position ourselves?
What chances or challenges might the democratisation of technology and knowledge elicit, and what potential do practices such as critical making, community science, trans/feminist hacking or citizen forensics hold to bend the hierarchies of power – how can we work with active matter and technical turmoil to re/act?
‘POM Berlin – Rogue Research’ aimed to probe new methodological approaches from art, design and civic activism within the framework of academia in order to surface an inter- and transdisciplinary terrain that attempts to exceed the boundaries of theory and practice, academia and activism, and science and civil society.
The POM Berlin conference emerged as a collaboration between the Technische Universität Berlin, the Berlin University of the Arts, Aalborg University, Aalto University, and the International University of Beirut. The conference took place over four days, comprising a series of tracks, interventions and a student exhibition.
The conference brought together track chairs, speakers and interventions from 31 countries across Asia, Africa, Europe, North and South America, representing critical perspectives on technology – decolonial, feminist and sustainable approaches, across disciplines, knowledge cultures and spaces.
Taking place in times of a pandemic and geopolitical crisis, the editors, conference committee and organisational team would like to sincerely thank all of the track chairs, authors, intervening artists and designers, and students involved in this endeavour, for making both the conference and the resulting proceedings possible. It is the profound engagement of all parties, especially the ever-growing POM community,
that has allowed this publication to arise.
Separating data and design
(2023)
This paper explores the concept of "Separation of Concerns" and its relevance to artistic education. We discuss the importance of separating data and design in software development and its benefits in opening access to distinct layers. Arguing that the separation of data and design is crucial in creating functional and effective digital tools for artistic education.
Language is the essential medium of human communication, and it takes various
forms, from music to computer code, each of which is suited to specific purposes.
This paper explores the realm of vernacular language, infused with sarcasm, within
the contexts of poetry and folk music. Specifically, we explore its transformative role
within the socio-political landscape of post-1967 Egypt, shedding light on its
dynamic impact on the political and social structure of the time.
Our research places particular emphasis on the works of Ahmad Fouad Negm and
his collaborative partnership with Sheikh Imam. Through their unique lens, this
paper explores the profound significance of vernacular poetry as a powerful tool for
articulating the everyday struggles and sentiments of the underprivileged class.
Their compositions served as a means of resistance to Egypt's ruling class and
provided a powerful voice for those marginalized within society. This study
highlights the enduring importance of vernacular sarcastic poetry in addressing
socio-political issues and advocating for the underprivileged in post-1967 Egypt's
socio-political landscape.
Planetary Embodiment (2021-2023) is a seminar and transdisciplinary artistic practice coordinated by Luïza luz at the Berlin University of Arts as part of Studium Generale. Engaging with the "Transformation of Silence Into Language and Action" as suggested by Audre Lorde, we envisioned this publication with the intention of investigating the power of words in breaking silences and cultivating awareness of intersectional environmentalism. The content was developed through workshops and guest lectures in collaboration with Andrea Galano Toro, gal sherizly, Denilson Baniwa, participants, and friends. In reciprocity for the causes we are addressing, the profits from this publication are directed to initiatives supporting Indigenous, land, human, and more than human rights.
Im Rahmen der TURN Konferenz `23 stellte das InKüLe Team mediendidaktische Vermittlungsformen für eine nachhaltige Implementierung von immersiv-medialen Lernumgebungen an einer Kunstuniversität zur Diskussion. Hierzu wurden das technologische VR-Toolkit und das ‚sessions_vr‘ Lehrformat, welches prozess- und erfahrungsorientiert die interdisziplinäre Zusammenarbeit von Studierenden mit immersiven Medien eröffnete, vorgestellt.
‚sessions_vr‘ wurde im Sommer Semester 2023 als Workshop-Reihe mit verschiedenen thematischen Schwerpunkten angeboten. Teilnehmende erhielten Einführungen in innovative Tools und Plattformen, wie zum Beispiel die VR-Sketching-App Gravity Sketch, und hatten die Möglichkeit im Gestaltungsprozess sich transdisziplinär auszutauschen. Durch ein offenes Format zur Erkundung von VR wurden die Teilnehmenden befähigt, die vorgestellten experimentellen Formate weiterzuentwickeln oder selbst zu initiieren. Gleichzeitig erlaubte ‚sessions_vr‘ die kritische Reflexion von Lehr- und Lernkulturen durch die Befähigung von direktem Feedback und dessen Umsetzung in neuen Workshops.
Ziel ist die Schaffung einer offenen Lernumgebung, in der das spielerische Experiment und erfahrungsbasiertes Lernen im Mittelpunkt stehen, und worin kollektive und kritische Wissensproduktion gefördert werden kann. In einer zweiten Projektphase im Winter Semester 2023 sollen die Ergebnisse in Form eines mediendidaktisch reflektierten VR-Toolkits dokumentiert werden, um so den Unterricht von VR-Technologien an verschiedenen Hochschulen und in anderen Bildungskontexten unterstützen zu können. Als Teil der TURN Konferenz wurden die ersten ‚sessions_vr‘ Ergebnisse präsentiert und kritische Reflexionen durch ein größeres und transdisziplinäres Fachpublikum weiter befragt.
listening / zuhören
(2022)
Listening appears as a research strategy: listening to remember, to
resonate, to fill the gap, to unpack, to participate, to endeavour, to
write, to read, to represent, to witness, to change, to resist, to learn,
to un-learn, to dream, to imagine, to meditate, to fall, to question, to
reveal, to travel, to envision, to feel, to wonder, to ask, to think, to
navigate, to dig, to bind, to murmur, to say loud, to share, to commit,
to repair, to speak out, to meet, to hear, to dwell … in becoming.
Handy Handbook of Hands
(2022)
Handy Handbook of Hands is about the finger binary systems. The first part of this book shows how to count and display binary numbers on the fingers. In the second part, a binary finger alphabet is developed that enables the communication of words with fingers.
Children learn to count with their fingers at an early age. The Latin word for fingers or toes “digitus” is the root of the English word digit. A normal person has, if nothing unforeseen happens, five digits on each hand. This limits the counting of the fingers to ten. By using binary numbers with the fingers of one or both hands, it is possible to count and display all numbers from 0 to 1023.
Counting in binary is one thing, but fingers can switch from “counting mode” to “text mode”. The binary finger alphabet technique allows communicating words and even entire sentences with the fingers. It is similar to Morse code and gives each letter of the alphabet a specific finger constellation. It is structured from simple finger constellations for the most commonly used letters of the English alphabet to more difficult constellations for rare letters.
DRAFTS#3
(2022)
DRAFTS#3 invited more than 80 designers, design researchers, and design students to discuss the role of artifacts in research and design activities within disciplines such as fashion, textile, and interaction design through the means of two exhibitions and one symposium.
A cooperation between the Swedish School of Textiles – University of Borås and designtransfer – UdK Berlin.
Understanding dance as a sensory and mentally grounded organisation of movement is at the core of Stephanie Schroedter's reflections. Of particular interest is the “muscle” or “movement” sense, which Émile Jaques-Dalcroze already insisted upon with great clairvoyance to train the transformation of sounds into spatio-temporal and dynamic nuanced, “plastic” movement creations. Against this backdrop Schroedter traces the “discovery” of our kinaesthesia back to its beginnings – as a sense responsible for the perception of one’s own movements, but also for self-perception based on movements. Subsequently, from a phenomenological perspective, the concept of a “kinaesthetic hearing” is established as an immediate interweaving of auditory perception with (visible or imaginary) movements.
While a standard definition of (musical) rhythm indicates that it consists of the duration of individual events of sound and silence, this paper suggests that rhythm consists of the units of events such as
sounds, silences and bodily movements which are no preexisting formal objects that can be combined, but units of action that are constituted in the course of rhythmic experience.
Marianne Steffen-Wittek initially concentrates on theoretical concepts of rhythm with special reference to texts by the founder of eurhythmics Émile Jaques-Dalcroze, and corresponding writings by Henrietta Rosenstrauch. As music educators, their writings provide a deep insight into the analysis of difficulties in the realisation of rhythms and ways to overcome them. The following selection of current theoretical concepts of eurhythmics in Germany shows in particular an intensified view of the connection between perception and movement and its (still to be further researched) effects on pedagogical and artistic activity. Rhythm theory and research in rock, pop, jazz and groove-based music is a relatively young field. In her remarks on groove and swing in jazz music, Steffen-Wittek refers to Mark Russell Doffman, whose embodied concepts can be important material for jazz-oriented rhythm teaching. She develops practical examples and connects them with the complex theoretical concept of eurhythmics by Holmrike Oesterhelt-Leiser.
Choreomusical work opens a world of images and signs beyond language. The expressiveness of what is heard and seen merges with the tacit-knowing-view of the viewer and the listener.
Meaningful resonances and processes of understanding develop along the structure of the work and within the individual construct of implicit and explicit knowledge of the audience. In this process, perception plays a major role. Aside from the obvious processing of acoustic and
visual stimuli, this paper will look at the role of proprioception, especially the kinaesthetic sense, with regard to its role as intermediary and creator in the process of perception.
Hybrid conferences and events are becoming the norm and even after the pandemic, a majority of students are asking for hybrid education as a permanent format at universities. In parallel, hybrid learning, which allows participants to connect on-site or digitally, means greater logistical and cognitive effort for educators, as well as active, participatory support by students. In the wake of these newly emerging learning cultures, it is vital to design them sustainably and critically reflect their impact. In this workshop, participants are invited to co-design future learning artefacts and practices. The workshop is conceived as a playful participatory design format in which the relationship between technology, pedagogy and future skills will be reflected and translated into provocative future artifacts. Whether your interest lies in emerging technologies, education, future design or sustainability, your views and expertise are welcome. This workshop is framed within the overarching question of "how hybrid learning spaces can be designed sustainably?" and within the larger context of the third-party funded project "InKüLe - Innovationen für die Künstlerische Lehre" at the UdK Berlin. The project InKüLe aims to develop and implement digital/hybrid forms of education using emerging technologies as well as interdisciplinary teaching and learning formats, as well as critically reflect their impact. The workshop results, therefore, contribute to the extensive discourse of the UdK Berlin and its university network of the Stiftung Innovation in der Hochschullehre.
On Figures and Pointclouds: An exploration of 3D scanning through process-driven creative research
(2022)
This article traces creative research on 3D scanning, that we – Maria Kyrou in collaboration with Jiawen Wang (Student Assistant, study program Art & Media) – developed in the context of the InKüLe Project (UdK Berlin) during the winter semester 2022-23. Following an associative and process-oriented approach, we pursued a creative exploration of 3D scanning, while illuminating both conceptual and technical aspects. This case study had a double scope: to experiment with the possibilities of different 3D scanning workflows for the creation of hybrid artistic formats and to reflect on ways of relating to emerging digital media, in order to facilitate their critical integration into a learning process for students and educators alike. 3D scanning serves thereby as a ‘Leitmotif’ for a broader inquiry on how mediators may learn.
Our project focused on the 3D capture of human figures, creating an interplay between scanning method and captured form. As an experimental exploration, the results of 3D scanning were interpreted through intuitive associations stemming from different art fields and visual media. Exploring both static and dynamic forms of 3D capture, the idea of movement became central as the creative process unfolded. Considered from the perspective of experimental media didactics, the article concludes with the definition of two pairs of qualities, which were central in its development and relation to emerging digital media.
This article reports findings from a one-month design research project in which four textile and fashion designers engaged in collaborative exploration of technical and artistic knowledge inherent in folds and folding. They experimented with textile technologies and construction methods to design, fabricate and analyze three-dimensional dynamic materiality in electronic textiles (e-textiles). The focus was on sensor structures achieved by knitting, weaving, pleating and coating techniques. The analysis of measurements of electrical resistance between one and 36 sensing areas per sample demonstrate the added value of folds integrated into textile sensor structures. The authors discuss types of folding and their aesthetic, textural and sensorial advantages. Detailed information on design, fabrication and experimental results is provided in supplementary materials to the article.
The British Library holds, in the legacy of John Wallis, six ciphered letters from the French Court to Count Lauzun in Ireland. Five of them, undecipherable by Wallis, were from Minister of War Louvois; their contents are still considered unknown today. However, not only is the plaintext copy of one of these letters held by the Service historique de la défense in Vincennes, but also is the nomenclator used for all five to be found in the Bibliothèque nationale de Paris. Another letter from Naval Minister Seignelay to Lauzun, which Wallis was able to decipher to a large extent, can be found in the Archives nationales de France. In this article, all six letters are published in plaintext, four of them possibly for the first time.
The paper presents a novel method of multiclass classification. The method combines the notions of dimensionality reduction and binarization with notions of category prototype and evolutionary optimization. It introduces a supervised machine learning algorithm which first projects documents of the training corpus into low-dimensional binary space and subsequently uses canonical genetic algorithm in order to find a constellation of prototypes with highest classificatory pertinence. Fitness function is based on a cognitively plausible notion that a good prototype of a category C should be as close as possible to members of C and as far as possible to members associated to other categories. In case of classification of documents contained in a 20-newsgroup corpus into 20 classes, our algorithm seems to yield better results than a comparable deep learning "semantic hashing" method which also projects the semantic data into 128-dimensional binary (i.e. 16-byte) vector space.
No-Win Situation is an interdisciplinary exhibition, which took place from May 14th to May 16th 2021 in the Treptower Ateliers. Students, lecturers and alumni from the Universität der Künste Berlin showed their works.
In response to the current situation and beyond, the participants tried to find new forms and ways to approach media that can do justice to the fast-paced character of a human-made downfall. That is what we call "the pessimistic view“: The internet creates a network that is no longer comprehensible. Nature is burdened until the consequences harm the humankind itself. The market creates dynamics that no one can control. Regardless of the Covid-19 pandemic, there are more than enough reasons to be pessimistic about the world.
Spatial sculptures encountered sound installations, machines met performance, virtual realty came across Readymade.
The exhibition catalog tries to link various artistic and creative positions. In terms of design, the question arises to what extent it is possible to reproduce new media but also to interpret them in a documentary print publication – a search for the best way to transport the essence of an artwork, especially when it has more to it than a visual part. The individual artwork is presented in a unique layout, approaching every work with a different design concept which is asking for the right visual language to communicate what is important.
The round table instituting/fleeing addresses collective practices as
forms of resistance against power asymmetries – as activist strategies.
It focuses on the entangled dynamics between fleeing and occupying the
institution and the role institutional critique plays in these dynamics.
We will map out our different collective practices by posing questions,
such as: How can we understand the different ways the institution and the
collectives are linked? How to create collectives within the institution?
How can collectives flee or occupy the institution? Who can flee and
where to? How do institutions appropriate and destroy collective
structures?
What are recent examples of practices in which ‘assembling’ and
‘disseminating’ reconfigure agencies, resources, affects and information
to give rise to new forms of collectivities? This round table brings
together Björn Heerssen and Noel David Nicolaus from the
interdisciplinary collective Clusterduck, and sociologist Serhat
Karakayali to ask about the relationships and interdependencies between
‘assembling’ and ‘disseminating’ as constitutive mechanisms in processes
of collectivization. How do agencies, resources, affects and information
elevate processes of creating collective feelings? Together we discuss
how ‘assembling’ and ‘disseminating’ take shape in each example, leading
to different forms of collectivities; what practicable mechanisms,
interfaces and infrastructures come into play; and how do these two
instances approach possibilities of collective interaction
in terms of
‘sharing’ and ‘learning’.