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Mostly autobiographical, this article describes the development of Free Jazz in the Soviet Union and how its social status changed since the 1980s. Letov and most of his Free-Jazz colleagues were engineers and chemists. At their workplace the involvement with Free Jazz was well supported and promoted, for example, through the reduction of working time. For Letov, making music in his free time was a conscious decision and corresponded with his ideal of ‘free art’. However, in the 1990s this changed dramatically, and the consequence of the liberalization of the art and labour market led to a commercialization of Free Jazz.
In this article, the Moscow Conceptualist Vadim Zakharov reflects on the intertwinement of his artistic practice and his work as book designer. One of the main insights is that, for Zakharov, art becomes interesting when it emerges from, and yet goes beyond, work. This transgression is minimal, but it is founded in the particular experience of, and reflection on, work. Zakharov’s knowledge of book design becomes a means for his artistic expression. This article implies a critique of the indeterminate potentiality of the artist, herewith questioning the post-medium condition of art.
Within documentary practices the relationship between fact and fiction is
constantly renegotiated. The films and videos by John Smith address this
relationship in a special way, disarrange it, and in doing so, reveal the
conditions of producing filmic truth. We invited John Smith to show his
films and comment on them in this regard. Here we present audio
recordings of his statements and short descriptions of the films he
referred to. In the following text, film scholar Volker Pantenburg points
out the importance of John Smith’s voice in his films, it creates a
reflexive level. In a similar way, the audio files create a commentary
level for the films in this article. Additional drawings by the Berlin
based artist Maxim Bauer illustrate the conversational character of the
evening.
Scientific experiments with documenting and archiving sound resulted in
the creation of diverse techniques which were eventually used beyond the
sciences, too. By addressing the poetics and politics of scientific sound
archives an institution comes into focus which is at the intersection of
art and science. While Viktoria Tkaczyk analyzed sound recordings from
the perspective of cultural studies, Gill Aubry presented his artistic
work with sound archives. Here, the evening is documented by photographs,
documentation of Gilles Aubry’s works and the transcription of Aubry’s
lecture.
07.11.2016 Reconsidering the Shape of Evidence: Visual Documents in and Beyond Contemporary Art.
(2017)
Sophie Berrebi discusses in her lecture the use of documents in the
visual arts in the first decade of the 21rst century. She focusses on
artists, who shed light on the potentials, mechanisms and traditions of
analogue forms of documentary practices in contrast to the contemporary
emphasis on the usage of digital media. In doing so they question the
status of art works as well as of documents and the relationship of
museums and archives. We present here the presentation manuscript of the
lecture and add the notes taken by two members of the research training
group. This most common kind of documentation of lectures in most
scientific disciplines points out the processes of selection und
accentuation in listening and recording.
Als Ergebnis der internationalen Tagung „Artistic Needs and Institutional Desires“ im November 2015 im Haus der Kulturen der Welt erscheint nun eine überarbeitete Version des Arbeitspapiers zur Veranstaltung.
Der erste Teil der Publikation beherbergt eine Zusammenfassung der geführten Diskussionen und ihrer Ergebnisse, die in den vier Arbeitsgruppen, die sich zu der Tagung in Berlin zusammenfanden, erarbeitet wurden. Im zweiten Teil folgt das vollständige Arbeitspapier, das vor Beginn der Tagung an alle Teilnehmer ausgehändigt wurde, inklusive kleiner Einführungen in die beteiligten Programme sowie thematischer Vorlagen für die vier Arbeitsgruppen.
Die Publikation ist eine in der Form einzigartige Zusammenfassung künstlerischer Drittzyklus-Programme und dokumentiert die vielschichtigen Diskussionen und Reflektionen, die die Begegnung im Haus der Kulturen der Welt in Berlin hervorgerufen hat.
The Central Library of the universities TU Berlin and the UdK Berlin turned ten years old in 2014 and its wayfinding system hasn’t been updated or redesigned since. Actually, it wasn’t planned as a system. This orientation system has been developed spontaneously in different methods since the beginning. The staff that works in the library developed it based on their daily necessities. There was no main objective, so it grew in an organic form. Because of this, the current system presents problems that decrease its performance and effectiveness.
For this project I would like to focus of the current wayfinding system of this library and its users in addition to a posterior redesign proposal.
My doctoral thesis with the title „Rebuilt Rubble - Community Gardens in the South Bronx from 1970s to the 21st century: Common land use in the inner city from a socio-economic open space planning perspective” is focused on the assumption that people are longing for and are committed to a common urban open space land use form in the inner city – a hypothesis that I investigated by analyzing the development of community gardens in the study area South Bronx from the 1970s to the 21st century.
My thesis is contextualized in the research fields of social open space planning and urban design. The analysis is based on qualitative data collection that encompasses census data, plans, open interviews and participatory observation and includes the discussion of secondary literature regarding community gardens and urban open space development in the South Bronx.
Since the urbanization and industrialization at the end of the nineteenth century residential space in densely build-up inner cities, and especially in low-income neighborhoods, has been reduced often to a minimum, and privately usable open space is absent in many cases. Starting with the global economic recession of the 1970s in the urban centers of North American cities such as New York City there have been privately, but collectively used gardens created on public open land. These so called community gardens were started by low-income residents on vacant property lots in the vicinity of their apartments in order to improve their quality of life and in answer to the “neglect” of their neighborhoods by the government and municipality. Today there are about 600 community gardens in the metropolitan area of New York City and 44 gardens alone in the area called South Bronx, the study area of my thesis.
I analyze in my thesis the development of this common land use in the study area South Bronx from a social-economic and open planning perspective. The case study of my research is focused on community gardening and the “casita”, the small hut that low-income residents with Latin American and Caribbean cultural background build themselves out of found and recycled materials in many community gardens in the South Bronx.
My thesis researches the development of community gardens in the South Bronx since the 1970s influenced by often conflicting interests of various land use groups, residents and city planning agendas until today. It is a document of the humans’ need for common urban open space land use and of their commitment to the community garden land use form in the inner city.
This thesis investigates and describes the design and structural behaviour of elastic gridshells. Elastic gridshells are shell structures composed of a single- or multi-layer grid of continuous profiles, which are initially straight and will be progressively bent until achieving an architecturally and structurally satisfactory geometry. Usually used as medium to large span surface structures, elastic gridshells present a wide variety in their surface geometry, grid configuration and materiality. One important structural criterion of elastic gridshells is the high residual stress to which they are subjected after the bending process. Using materials with high limit strain, the residual utilisation rate can be reduced. In the first part of the work, the structural aspects to be considered on the design procedure of elastic gridshells are described and identified on existing design approaches. Then, the mechanical properties of available materials, suitable for elastic gridshells, have been compared and application examples have been presented and illustrated.
Elastic gridshells offer significant cost and time advantages during the production, transport and construction processes. Nevertheless, the shaping of the initially flat grid also generates important bending stresses on the structures, reducing therewith their bearing capacity against external loads. In order to diminish the initial stresses, profiles with low sections and materials with low modulus of elasticity are usually chosen. However, this leads to a reduction of the global stiffness of the gridshell which can result in stability problems. With an optimisation of the grid pattern - orientation and arrangement of the grid profiles - a minimisation of the profiles’ curvature can be obtained and the load-bearing capacity of the gridshells improved. In the second part of the thesis, an optimisation method based on variational principles for regular and irregular gridshells is proposed and different case studies presented. The aim of using variational principles is to establish extremal functions which minimize the value of quantities related to particular grid properties. These properties are: the curvature of the profiles, the distance to a target surface geometry and the deviation of the edge lengths from a desired mesh size. The advantage of this method is that weighting factors can be applied to the grid parameters to be minimised, so that a variety of grid configurations can be established responding to different specific requirements.
The bending process and load-bearing behaviour of elastic gridshells can be analysed using three-dimensional finite element models. During the shaping of the profiles, internal forces are induced on the structure, so that the final equilibrium shape of the gridshell will be attained once its edges have been fixed, the bracing elements have been assembled and the external shaping forces have been removed. The goal of the numerical analysis is to quantitatively evaluate the geometry and material stresses resulting from the shaping process and the load-bearing capacity of the gridshell under external loading. In the third part of the thesis, the influence of the orientation and arrangement of the grid profiles on the residual stresses after erection process and on the distribution of forces and deformability of the gridshell under external loading are analysed on three regular anticlastic gridshells with varying grid pattern. Moreover, the potential and limitations of using tensile membranes as restraining and at the same time covering element of elastic gridshells are studied on a hemispheric regular elastic gridshell.
Numerical techniques are commonly used for the calculation of stress distributions and displacements of complex indeterminate bearing structures. Nevertheless, to model the elements they are composed of and the connection properties between them, simplifications and approximations are done. The purpose of the fourth and last part of the work is to analyse the influence of these simplifications on the results of the simulation and thereby recalibrate and benchmark the numerical models with physical prototypes. Two gridshells composed of GFRP profiles have been built: an irregular hemisphere of 10 m diameter, braced with a third layer of profiles, and a regular hemisphere of 5 m diameter, restraint with a tensile membrane. The prototypes have been loaded symmetrically and asymmetrically applying point loads at the grid nodes and the resulting nodal displacements have been compared to those calculated with the numerical models.
Encountering the Digital: Representational and Experiential Embodiment in Tangible User Interfaces
(2014)
This dissertation is concerned with the concept of »embodiment« in the field of Human-Computer Interaction (HCI). It investigates the issue by the means of Research Through Design
(RTD).
The notion of »embodiment« has many meanings in HCI. It is therefore the aim of this work to contribute to its clarification. I propose a distinction between two major meanings: »embodiment« in the sense of »representation« and »embodiment« in the sense of how the experience of one’s socio-physical world is fundamentally grounded in having a living body. I propose to name these two meanings »representational embodiment« and »experiential embodiment«.
Having separated the two meanings, I then look at those moments in which they encounter: I investigate moments in which »embodied« users face »embodiments« of digital information. These moments of encounter appear to be a central aspect of Tangible User Interfaces (TUIs), which are often concerned with making digital information graspable. Therefore, I focus on TUIs, pursuing the question of how the design of the »representational embodiments« of digital information affects the user’s experience of the interaction.
RTD is a research concept that promises to offer a new, »designerly« perspective on a subject matter. There are different approaches to RTD, of which I have chosen Findeli’s model of Project-Grounded Research (PGR). I introduce RTD and PGR, contextualising them in their historical context. I underline the central roles of the prototype and the »project« in PGR. I also relate RTD to its academic reference points: action research and grounded theory. Afterwards, I transform my research question into a design question, namely how the »embodiments« of digital information could be designed in a way that is oriented to the users’ »embodiment«.
In everyday language, physical (e. g. »disk size«, »data mining«) and social metaphors (»smart phone«, »battery life«) are often used to describe concepts of interacting with digital information. These metaphors form the starting point of my investigation into TUIs that make digital information graspable through socio-physical manifestations – through shape change, weight shift, and life-like signals. I describe the prototypes and report several previous studies that were conducted with them. These assess, for example, the accuracy at which users could feel the shifted weight on the phone’s inside, or the experiences of users carrying the »living mobile« for a weekend.
I then report a comparative study of the three prototypes and three vibration-based comparison prototypes. In this study, I make use of the Repertory Grid Technique (RGT). RGT is based on so-called »personal constructs«, which the users name themselves, as to describe the prototypes (e. g. »knowledge required – easy to understand«, »biological – technical«, »exciting – boring«). The users then use their own personal constructs to rate the prototypes. The findings of the RGT study indicate that the interaction with the Shape-Changing Mobile, Weight-Shifting Mobile, and Ambient Life prototypes was experienced by the users as novel and interesting, but at times also as irritating, and even annoying. The mixed results from this study can be described as three »two-sided coins«: the interaction with the prototypes was rated as rich in associations, but requiring prior knowledge and, at times, disappointing. It was rated as permanent, but at times annoying. Lastly, it was described as cute, but sometimes creepy.
I conclude that the encounter of »representational embodiment« and »experiential embodiment« can open a conceptual space for interaction design that is rich in opportunities, but also rich in challenges. It is this space that I set out to explore with this dissertation.
In summary, the main contributions of this dissertation are a separation of different meanings of »embodiment« in HCI and a study of TUI prototypes that explore the encounter of these meanings.
The original TuringTest is modified in order to take
into account the age&gender of a Judge who evaluates the
machine and the age&gender of a Human with whom the
machine is compared during evaluation. This yields a basic taxonomy of TuringTest-consistent scenarios which is
subsequently extended by taking into account the type of intelligence being evaluated. Consistently with the Theory of Multiple Intelligences, nine basic intelligence types are
proposed, and an example of a possible scenario for evaluation of emotional intelligence in early stages of development is given.
It is suggested that specific intelligence types can be
subsequently grouped into hierarchy at the top of which is seated an Artificial Intelligence labelled as “meta-modular”. Finally, it
is proposed that such a meta-modular AI should be defined as an Artificial Autonomous Agent and should be given all the rights and responsibilities according to age of human counterparts in
comparison with whom an AI under question has passed the
TuringTest
Originally, music choreography works of rhythm are closely tied to music and seek the most comprehensive possible transfer of all musical parameters into spatio-temporal as well as dynamic correspondences. Following the boundary-expanding developments in music and dance from the 1960s onwards, other intermedial forms of reference have become conceivable. Dorothea Weise breaks these down exemplarily and presents a system (to be questioned critically and thought through further).
New method for the viole d'amour (the love viol) : its origin and history and art of playing it
(1885)
The transmission of musical processes via corresponding movement sequences can be seen as the foundation of Dalcroze Eurhythmics. Accordingly, the sensibility for rhythm and its inherent interplay of tension and relaxation in space and time is significant for the embodied visualisation of music. For creating wider aesthetic experiences and confrontation with the rhythmical structures of music and other artistic expressions—such as visual arts and literature—it can be helpful to take a look at other concepts of rhythm. Recent theories about rhythm from the music theorists Steffen A. Schmidt and Christopher Hasty, as well as the philosophical thoughts about speech from Ludwig Wittgenstein, described as «Saying and Showing», open up additional structures that may enrich the process of artistic creation and performance in eurhythmics.
Jumping over one's own shadow and expanding boundaries are frequent demands in the field of music and movement through the special methodological possibilities of eurhythmics. This is true for the learners as well as for the teachers. With a view to the concept of perception of constructivism, it is first clarified why perceptions are always individual and bound to subjective experiences. Then the ‘Gegen-Stand’ comes into play as a surface of friction and a basis for an active and reflective engagement that is capable of producing new results.