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GENERATIVE KUNST


Adc100x80bw.png Dr. Alberto de Campo, Professor für das Lehrgebiet »Generative Kunst/Computational Art« im Studiengang Kunst und Medien (KuM)

E-Mail: decampo@udk-berlin.de, Tel: +49 (0)30 3185-1239, Fax: - 1247
Besucheradresse: Universität der Künste Berlin, Grunewaldstr. 2-5, 10823 Berlin, Raum 213

Sprechzeiten: nach Vereinbarung Mo, Di, Mi

Hannes Hoelzl, Künstlerischer Mitarbeiter für das Lehrgebiet »Generative Kunst/Computational Art« im Studiengang Kunst und Medien (KuM)

E-Mail: hannes@earweego.net, Tel: +49 (0)30 3185-1239, Fax: - 1247
Besucheradresse: Universität der Künste Berlin, Grunewaldstr. 2-5, 10823 Berlin, Raum 213

Sprechzeiten: nach Vereinbarung Mo, Di, Mi

Tutoren:

Tobias Purfürst, sound, programming, studios : <tobiaspurfuerst@gmail.com>
Liang Zhipeng, mechatronics, arduino, programming : <xcvpoi@gmail.com>

Aktuelle Forschung:
Design, Development and Dissemination of New Musical Instruments - http://www.3dmin.org
Forschungsprojekt mit der TU Berlin, gefördert von der Einsteinstiftung Berlin.


Aktuelles Lehrangebot - Sommersemester 2014

Fachklasse Generative Kunst / Computational Art VDL 2510510

Code Experiments: Studies in MetaControl -- VDL 2527003

Hybrid Systems: Shut Up 'n' Play Yer X - (Improvisation practice) -- VDL 2527004

Audiovisual Programming: Portable sonification projects -- VDL 2527002

Entwurf und Gestaltung neuer digitaler Musikinstrumente -- VDL 2520310


Hybride Systeme - Inter-Objective Chaos -- VDL 2540030

Reading Seminar: Gendy Trouble - Sound, Gender and Technology from Xenakis to Butler and beyond -- VDL 2540020


Fachklasse Generative Kunst
Plenum: Dienstag 13-16h, Raum 111; Einzeltermine n.V. Mo, Di. Mi.

Die Klasse befasst sich mit den Möglichkeiten, Programmierung, generative Strategien und Interaktion in verschiedenen Kontexten in künstlerischen Projekten einzusetzen; der Schwerpunkt liegt auf Echtzeit-Systemen, die komplexe Zeitstrukturen, Klang und Musik einbeziehen. Im Plenum werden Ideen, Skizzen, aktuelle Arbeiten in Zwischenstadien und interessante Arbeiten aus verwandten Gebieten gezeigt und diskutiert. In den Einzelbesprechungen werden Konzeption und schrittweise Realisierung und Ausformulierung von generativen, interaktiven und/oder sound-basierten Arbeiten, Installationen, Instrumenten diskutiert und mögliche Lösungswege in Skizzen erprobt.

Im SS 2014 wird der Themenschwerpunkt "Lose Control, Gain Influence" gemeinsam mit den LVs Code Experiments, Hybride Musiksysteme, Audiovisual Programming, und Computational Art Theory fortgeführt und vertieft. Der Besuch dieser Veranstaltungen wird ausdrücklich empfohlen.

Darüber hinaus besteht für einige wenige Studierende die Möglichkeit, im Rahmen des interdisziplinären Forschungsprojekts '3DMIN' eigene hybride Performance-instrumente und damit verbundene musikalische Projekte zu entwickeln.


Code Experiments: Studies in MetaControl
Alberto de Campo, Hannes Hölzl
Mittwoch, 12.00 –14.00 Uhr Raum 111

Traditional design practice assumes that users of instruments/devices will want to have complete control of them; e.g., standard musical instruments follow this principle. For artistic purposes, one can question this belief: instead of a conceptual model of full control, where an instrument only follows orders in a chain of command, one can experiment with systems that show nontrivial behavior by themselves already. Based on a conceptual model of "networks of influence", one can devise many strategies how such systems can become interesting performance partners providing surprise on multiple structural levels for both players and audiences. This seminar explore these concepts using the newly developed MetaKtl code library for SuperCollider, which already provides many building blocks for these approaches.

Besides performance systems for individuals (instruments) and interactive installations, systems that can be played by multiple players/users simultaneously through networks of influence will be sketched and developed. The seminar will be in close collaboration with the Fachklasse for Computational Art, and the courses "Audiovisual Programming", "Hybrid Systems", and "Sonic Cyberfeminism", so attending several of them is strongly encouraged.


Hybrid Systems: Shut Up 'n' Play Yer X - (Imrpovisation practice)
Hannes Hölzl, Alberto de Campo
Mittwoch, 12.00 –14.00 Uhr Raum 111

Join and train convivence with your performance partners – man, woman or machine. Join and play with your performance partners – man, woman or machine.

This weekly session complements the Code Experiments and 3DMIN seminars with the essential factor of musical performance practice. The goal is to develop subtle skills of musical communication enabling us, in the course of a performance, to negotiate changes in form, dynamics and structure without the need for outside directions. Structured improvisation rehearsal will allow us to reliably identify each other's repertoire and make each participant comfortable at taking specific roles inside the ensemble. For inspiration, we will be looking at existing improvisation traditions, from Adderley to Zappa in Jazz, at the heroes of the current western New Music impro scene and at improvisation in an ethnomusicological context. A salient factor in our meetings will be recording every performance - no matter whether we are cautiously approaching new situations in the class room or giving the final concert - and listening back to them in an analytic way. The insights gainied from performing and analysing together will feed back as valuable theoretical input for the code/instrument design and development. The seminar will be in close collaboration with the Fachklasse for Computational Art, and the courses "Code Experiments", "Audiovisual Programming", and "Synthesis and sound on Arduino", so attending several of them is strongly encouraged.


Audiovisual Programming: Portable sonification projects
Fredrik Olofsson
Do 14-16h, Raum 111

In this course we will equip ourselves with sensors, headphones and battery driven minicomputers. This all in order to go out into the world and explore different physical properties via sound. The equipment lets us listen to normally silent phenomenas like light, temperature, magnetism, position, pressure, vibration etc, and the participants will learn how to generate, control or influence sound with realtime data coming from such sensors. Exactly what data to collect and how it should sound is up to each participant. Demo projects, some sensors and minicomputers (beaglebone black) will be provided. For sound synthesis we will use the open-source programming environment SuperCollider, and for the sensor reading part the popular programming language, Python.


Entwurf und Gestaltung neuer digitaler Musikinstrumente
Dr. Till Bovermann, Dominik Hildebrand Marques Lopes, Amelie Hinrichsen
Seminar Mo 14-17h, Raum 111
Übung n.V. Mo, Di

In diesem Seminar werden Instrumente entwickelt und hinsichtlich ihres Einsatzes und ihrer möglichen Verwendung gestaltet. Hier wird es darum gehen, das Themenfeld um "Kommunikation, Improvisation und Feedback" einzubinden und von unterschiedlichen Seiten zu beleuchten. In interdisziplinären Kleingruppen wird dieser Schwerpunkt auf praktische Anwendungsfelder wie "Instrumente für einsame Momente", "Ensemblespiel" und "Körperlichkeit" angewandt. Nach einem intensiven Anfangsworkshop mit ausgewählten Materialien, gliedert sich das Seminar in mehrere Entwurfsetappen. Nach einer vertiefenden und realisierenden Phase endet das Seminar mit einem konzertanten Auftritt der Studierenden vor Publikum. Parallel zu der Veranstaltung findet eine öffentliche Präsentationsreihe statt, in der professionelle Musiker aus den Bereichen elektro-akustischer und digitaler Musik ihre Instrumente zur Diskussion stellen werden. Dieses Seminar geht aus dem 3DMIN Projekt hervor, einer Kooperation der UdK Berlin mit der TU Berlin über die Hybrid Plattform. Es integriert daher Studiengänge beider Universitäten. Es ist gekoppelt mit der Übung 2520320.


Hybride Systeme - Inter-Objective Chaos
Constantin Engelmann
Do 11-13h, Raum 111

In this course will will look into physical processes as control parameters for audio synthesis. In contrast to standard knobs, dials and buttons with clear states, we will design and built interfaces that are blurry and ambiguous and employ a process on its own. Taking the Theremin as an example, one could see that its pitch is being biased not only by the hand of the performer but among others by his or her posture, the placement in the room and current humidity. A change in one of the parameters would cause the overall result to shift. Instead of directly changing a parameter by knobs or switches we would think of a physical process (e.g. pedulums, bouncing balls…) that influences a certain output to change. Using different mikrocontroller platforms we will prototype various interfaces and implement these in Supercollider for further processing. We will concentrate to design versatile and performative control methods and therefore look further into advanced topics as latency, resolution and protocols. In the first weeks we will have a general introduction to the concepts, hardware and software and then start to work on your own projects and ideas in the second half of the semester.


Reading Seminar: Gendy Trouble - Sound, Gender and Technology from Xenakis to Butler and beyond
Annie Goh
Freitag, 14-15.30h, ca. 2wöchig, Raum 111

What does Iannis Xenakis' "Génération Dynamique Stochastique" approach to waveform synthesis (shortened to "GenDy") have to do with Judith Butler's seminal feminist work "Gender Trouble"? Aren't maths, technology, programming and sound gender neutral?

Countering a common perception that this is true, in this seminar we will examine the gendered nature of technology and sound in its construction, distribution and use. We will be reading texts and discussing the following questions; What is the role of gender within sound and computational/generative art? How does the continued hegemony of the male subject in technology and experimental/electronic music lead to an impoverishment to its development? What can alternative, including feminist, approaches provide in order to challenge and subvert majoritarian beliefs and practices in contemporary media, computer and sonic arts?


Lehrangebot und Aktivitäten in früheren Semestern: </>

<b> GenComp_WS2013
Keine Fachklasse wegen Forschungssemester
Code Experiments: Stand_Alone - The Ubiquitous Instrument
Audiovisual Programming: Embedded Systems
(Fachtheorie) Computational Art: Creative Coding for Artist and Designers

GenComp_SS2013
Fachklasse - Themenschwerpunkt:
Code Experiments:
Hybrid Systems:
Audiovisual Programming:
Computational Theory:

GenComp_WS2012
Fachklasse - Themenschwerpunkt:
Code Experiments:
Hybrid Systems:
Audiovisual Programming:
Computational Theory:

GenComp_SS2012
Fachklasse - Themenschwerpunkt:
Code Experiments:
Hybrid Systems:
Audiovisual Programming:
Computational Theory:

Lehrangebot_GenComp_WS2011
Fachklasse - Themenschwerpunkt:
Code Experiments:
Hybrid Systems:
Audiovisual Programming:
Computational Theory:

GenComp_SS2011
Fachklasse - Themenschwerpunkt:
Code Experiments:
Hybrid Systems:
Audiovisual Programming:
Computational Theory:

GenComp_WS2010
Fachklasse - Themenschwerpunkt:
Code Experiments:
Hybrid Systems:
Audiovisual Programming:
Computational Theory:

GenComp_SS2010
Fachklasse - Themenschwerpunkt:
Code Experiments:
Hybrid Systems:
Audiovisual Programming:
Computational Theory:

Lehrangebot_GenComp_WS2009