https://exmediawiki.khm.de/api.php?action=feedcontributions&feedformat=atom&user=Anke 2026-04-25T04:04:10Z Benutzerbeiträge MediaWiki 1.43.5 https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4520 2020-01-16T12:55:38Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh, meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Johannes: what does it mean as a materialisation - micro, makro<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> <br /> Agustina&lt;br&gt;<br /> - The importance of words and metaphors&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> - Agents and agency&lt;br&gt;<br /> - Identity / permeability &lt;br&gt;<br /> - understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces &lt;br&gt;<br /> &lt;br&gt;&lt;br&gt;<br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> &lt;br&gt;&lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.<br /> Architecture uses different kinds of plans to communicate/isolate certain immanent aspects. <br /> If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen<br /> But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art like light and air. Translations also are processes of transmissions between the immaterial realm and the material realm. The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Karin:&lt;br&gt;<br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> open circle: no feedback, rather a refeed cycle<br /> &lt;br&gt;<br /> <br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm? What is the &quot;inbetween&quot; of material?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> &lt;br&gt;<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> AFTERNOON<br /> <br /> ==== D ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4519 2020-01-16T12:54:54Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh, meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Johannes: what does it mean as a materialisation - micro, makro<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> <br /> Agustina&lt;br&gt;<br /> - The importance of words and metaphors&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> - Agents and agency&lt;br&gt;<br /> - Identity / permeability &lt;br&gt;<br /> - understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces &lt;br&gt;<br /> &lt;br&gt;&lt;br&gt;<br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> &lt;br&gt;&lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.<br /> Architecture uses different kinds of plans to communicate/isolate certain immanent aspects. <br /> If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen<br /> But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art like light and air, although we have to admit, they are still considered to be at the fringes of the artworld. Translations also are processes of transmissions between the immaterial realm and the material realm. The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Karin:&lt;br&gt;<br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> open circle: no feedback, rather a refeed cycle<br /> &lt;br&gt;<br /> <br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm? What is the &quot;inbetween&quot; of material?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> &lt;br&gt;<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> AFTERNOON<br /> <br /> ==== D ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4518 2020-01-16T12:54:36Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh, meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Johannes: what does it mean as a materialisation - micro, makro<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> <br /> Agustina&lt;br&gt;<br /> - The importance of words and metaphors&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> - Agents and agency&lt;br&gt;<br /> - Identity / permeability &lt;br&gt;<br /> - understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces &lt;br&gt;<br /> &lt;br&gt;&lt;br&gt;<br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> &lt;br&gt;&lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.<br /> Architecture uses different kinds of plans to communicate/isolate certain immanent aspects. <br /> If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen<br /> But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art like light and air, although we have to admit, they are still considered to be at the fringes of the artworld. Translations also are processes of transmissions between the immaterial realm and the material realm. The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Karin:&lt;br&gt;<br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> open circle: no feedback, rather a refeed cycle<br /> &lt;br&gt;<br /> &lt;br&gt; <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm? What is the &quot;inbetween&quot; of material?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> &lt;br&gt;<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> AFTERNOON<br /> <br /> ==== D ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4517 2020-01-16T12:53:54Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh, meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Johannes: what does it mean as a materialisation - micro, makro<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> <br /> Agustina&lt;br&gt;<br /> - The importance of words and metaphors&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> - Agents and agency&lt;br&gt;<br /> - Identity / permeability &lt;br&gt;<br /> - understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces &lt;br&gt;<br /> &lt;br&gt;&lt;br&gt;<br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> &lt;br&gt;&lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.<br /> Architecture uses different kinds of plans to communicate/isolate certain immanent aspects. <br /> If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen<br /> But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Karin:&lt;br&gt;<br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> open circle: no feedback, rather a refeed cycle<br /> &lt;br&gt;<br /> &lt;br&gt; <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm? What is the &quot;inbetween&quot; of material?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> &lt;br&gt;<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> AFTERNOON<br /> <br /> ==== D ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4516 2020-01-16T12:53:16Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh, meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Johannes: what does it mean as a materialisation - micro, makro<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> <br /> Agustina&lt;br&gt;<br /> - The importance of words and metaphors&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> - Agents and agency&lt;br&gt;<br /> - Identity / permeability &lt;br&gt;<br /> - understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces &lt;br&gt;<br /> &lt;br&gt;&lt;br&gt;<br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> &lt;br&gt;&lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.<br /> Architecture uses different kinds of plans to communicate/isolate certain immanent aspects. <br /> If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen<br /> But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Karin:&lt;br&gt;<br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> open circle: no feedback, rather a refeed cycle<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Anke: <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm? What is the &quot;inbetween&quot; of material?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> &lt;br&gt;<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> AFTERNOON<br /> <br /> ==== D ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4503 2020-01-16T12:40:52Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.<br /> Architecture uses different kinds of plans to communicate/isolate certain immanent aspects. <br /> If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen<br /> But this is documenting a fixed state, what about more ephemeral materials and how to document them?<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm? What is the &quot;inbetween&quot; of material? <br /> <br /> &lt;br&gt;&lt;br&gt;<br /> Karin:&lt;br&gt;<br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> <br /> Agustina&lt;br&gt;<br /> - The importance of words and metaphors&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> - Agents and agency&lt;br&gt;<br /> - Identity / permeability &lt;br&gt;<br /> - understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces &lt;br&gt;<br /> &lt;br&gt;&lt;br&gt;<br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> <br /> &lt;br&gt;&lt;br&gt;<br /> <br /> <br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4502 2020-01-16T12:38:14Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.<br /> Architecture uses different kinds of plans to communicate/isolate certain immanent aspects. <br /> If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen<br /> But this is documenting a fixed state, what about more ephemeral materials and how to document them?<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. <br /> &lt;br&gt;&lt;br&gt;<br /> Karin:&lt;br&gt;<br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> <br /> Agustina&lt;br&gt;<br /> - The importance of words and metaphors&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> - Agents and agency&lt;br&gt;<br /> - Identity / permeability &lt;br&gt;<br /> - understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces &lt;br&gt;<br /> &lt;br&gt;&lt;br&gt;<br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> <br /> &lt;br&gt;&lt;br&gt;<br /> <br /> <br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4489 2020-01-16T12:29:38Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian:Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Agustina: The importance of words and metaphors:&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> &lt;br&gt;&lt;br&gt;<br /> Agustina:&lt;br&gt;<br /> - Language / material &lt;br&gt;<br /> - Its about understanding / actualising / appropriating / adapting &lt;br&gt;<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> &lt;br&gt;<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> &lt;br&gt;&lt;br&gt;<br /> Agustina&lt;br&gt;<br /> - Not only product oriented but the importance of on process. &lt;br&gt;<br /> - How things are done, how we can change how things are done and how we can do together.&lt;br&gt;<br /> - What does it mean to collaborate, to co-work, to co-create.&lt;br&gt;<br /> - set the bases&lt;br&gt;<br /> - Find translation strategies creates those bases&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> <br /> &lt;br&gt;&lt;br&gt;<br /> Agustina&lt;br&gt;<br /> - Agents and agency&lt;br&gt;<br /> - Identity / permeability &lt;br&gt;<br /> - understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces &lt;br&gt;<br /> <br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4486 2020-01-16T12:28:03Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. And this process seems to be multiplied in realtime, there are several forces in several directions at the same time. So how do artistic processes with material relate to these descriptions? &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian:Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Agustina: The importance of words and metaphors:&lt;br&gt;<br /> - Actor–network theory &lt;br&gt;<br /> - meshwork - entanglement&lt;br&gt;<br /> - intra-action - unstable becoming&lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> &lt;br&gt;&lt;br&gt;<br /> Agustina:&lt;br&gt;<br /> - Language / material &lt;br&gt;<br /> - Its about understanding / actualising / appropriating / adapting &lt;br&gt;<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> &lt;br&gt;<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively on and with materials, material works also as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4481 2020-01-16T12:23:53Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? The meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. How do artistic processes with material relate to the description of action-reaction? What are terms of acting, with and within and outside of material aspects?&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian:Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian: Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic. <br /> &lt;br&gt;&lt;br&gt;<br /> Anke: In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> &lt;br&gt;&lt;br&gt;<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> <br /> ---<br /> <br /> Lilian: Processes: Acting performatively, material as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4477 2020-01-16T12:20:44Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: Is a meshwork transferable to translational procedures? Beyond connections between nodes (network) the meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. How do artistic processes with material relate to the description of action-reaction? What are terms of acting, with and within and outside of material aspects?&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian:Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> <br /> <br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> <br /> <br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> <br /> <br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic. <br /> <br /> <br /> Anke: In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> <br /> ---<br /> <br /> Lilian: what is possible to be translated from one process to the other&lt;br&gt;<br /> Processes<br /> Acting performatively, material as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4476 2020-01-16T12:19:40Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: And how about a meshwork? Is a meshwork itself also transferable to translational procedures? Beyond connections between nodes (network) the meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. How do artistic processes with material relate to the description of action-reaction? What are terms of acting, with and within and outside of material aspects?&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian:Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> <br /> <br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> <br /> <br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> <br /> <br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic. <br /> <br /> <br /> Anke: In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> <br /> ---<br /> <br /> Lilian: what is possible to be translated from one process to the other&lt;br&gt;<br /> Processes<br /> Acting performatively, material as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, conteptualize, coalesce, skid,&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> * meshes as overlapping fields of nodes, rather a confluence<br /> * interaction of nodes, points of contacts<br /> * intra-action between meshes?<br /> * the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> &lt;br&gt;<br /> physical examples? (mainly textile structures)<br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4473 2020-01-16T12:18:58Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: And how about a meshwork? Is a meshwork itself also transferable to translational procedures? Beyond connections between nodes (network) the meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. How do artistic processes with material relate to the description of action-reaction? What are terms of acting, with and within and outside of material aspects?&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian:Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> <br /> <br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> <br /> <br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. <br /> <br /> <br /> Anke: Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic. In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> <br /> ---<br /> <br /> Lilian: what is possible to be translated from one process to the other&lt;br&gt;<br /> Processes<br /> Acting performatively, material as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, contectualize, coalesce, skid,&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> meshes as overlapping fields of nodes, rather a confluence<br /> interaction of nodes, points of contacts<br /> intra-action between meshes?<br /> the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...<br /> physical examples? (mainly textile structures)<br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4471 2020-01-16T12:17:48Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: “Why should people think with the artifacts alone? Why not also with the air, the ground, the mountains and streams, and other living beings? Why not with materials?<br /> Thinking is the movement” (Ingold) &lt;br&gt;<br /> &lt;br&gt;<br /> “Follow the material”, as Deleuze/Guattari expressed it, and the artistic processes who bring them into flow. A starting point for the Materiathek which focuses on artistic processes is and could be the concept of the meshwork. A Mesh is considered a weblike pattern or construction, also a fabric, an arrangement of interlocking materials, but also a working contact. Therefore, it differs from a net where always two points, two elements are directly connected. In a mesh, there are many layers and many connections to all elements.&lt;br&gt;<br /> &lt;br&gt;<br /> Anke: And how about a meshwork? Is a meshwork itself also transferable to translational procedures? Beyond connections between nodes (network) the meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. How do artistic processes with material relate to the description of action-reaction? What are terms of acting, with and within and outside of material aspects?&lt;br&gt;<br /> &lt;br&gt;<br /> Lilian:Anthropologist Tim Ingold speaks of a meshwork consisting of entangled lines which flow. Anthropologist and researcher of Material agency Carl Knappett speaks of “a maze of intersecting lines”. So, a meshwork could be described as a complex, constantly changing growing texture of relations between things, beings and their natural environments. <br /> As a figure of thought, a meshwork could not only give information on how materials and their agents are connected, but also show their processes of transformations.&lt;br&gt;<br /> &lt;br&gt;<br /> Within a meshwork which shows the connection of artistic interactions and interventions with different materials from solid or soft to liquid, from tangible to virtual, from assembled, composite to digital, from sound waves, to smart materials, to algorithms, it could be helpful to look into translation procedures.&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. <br /> <br /> <br /> Anke: Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, <br /> <br /> &lt;br&gt;&lt;br&gt;<br /> Lilian: <br /> Translation is a procedure of transformation, a form of transfer from one material state into another, but also from a tangible image into a digital file, or a notation into a sound piece, a set of heterogenic materials or things into one composite or installation.<br /> Translation means also understanding and a transfer from one cultural or material environment to another, from one field into another: Which role does a material bonding plays in architecture and which one in sculpture? Translations requires a trans- and interdisciplinary thinking across disciplines materials and their treatment.<br /> <br /> <br /> Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic. In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> talking about process and processualization<br /> * production processes (industrial / artistic etc)<br /> * material itself<br /> * smart materials as an initiated process in itself<br /> <br /> aspect of transformation and/or change: in relation to matter and decay; material and &quot;mutation&quot;<br /> <br /> &quot;refeed&quot;: <br /> * concept of transfer and transformation within systems<br /> * physical system /technologies/materials --&gt; digital system / technologies/haptics --&gt; analogue/physical system / materials<br /> * change of world view/perspectives<br /> * transformation of material<br /> * adaption and change of aesthetics<br /> <br /> open circle: no feedback, rather a refeed cycle<br /> <br /> ---<br /> <br /> Lilian: what is possible to be translated from one process to the other&lt;br&gt;<br /> Processes<br /> Acting performatively, material as process itself&lt;br&gt; <br /> &lt;br&gt;<br /> collaborative procedures (Anke, Karin, Lilian)<br /> to extract, filter, transform, amplify, exchange, convert, assemble, mutate, collide, clash shift, change, apprehend, materialize, substantilize, set, dry, edit, material thinking, enhance, adapt, intensify, act on, acting in, in state of, contectualize, coalesce, skid,&lt;br&gt;<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> meshes as overlapping fields of nodes, rather a confluence<br /> physical examples? (mainly textile structures)<br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4442 2020-01-14T12:55:34Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek|Materiathek]]&lt;br&gt;<br /> back to [[Materiathek_Veranstaltung]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: with Tim Ingold<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;material&quot; solid. Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of internet content in real-time. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic. In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> <br /> And how about a meshwork? Is a meshwork itself also transferable to translational procedures? Beyond connections between nodes (network) the meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. How do artistic processes with material relate to the description of action-reaction? What are terms of acting, with and within and outside of material aspects?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> <br /> Lilian: what is possible to be translated from one process to the other<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Themen/S%C3%A4tze_Sammlung_f%C3%BCr_dialogische_Einleitung&diff=4441 2020-01-14T12:54:12Z

<p>Anke: </p> <hr /> <div>back to [[Materiathek|Materiathek]]&lt;br&gt;<br /> back to [[Materiathek_Veranstaltung]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> first notes about the topic of mesh(work)<br /> https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog<br /> &lt;br&gt;<br /> <br /> more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,<br /> &lt;br&gt;<br /> see the following &quot;startsequence&quot;-pad:<br /> &lt;br&gt;<br /> https://pad.freifunk.net/p/materiathek_startsequenz&lt;br&gt;<br /> &lt;br&gt;<br /> arrangement of questions into &quot;chapters&quot;&lt;br&gt;<br /> What kind of questions are sensible and suitable for us?<br /> Which questions are suitable for our project and the main question of our project (which is...)?<br /> Which are relevant for each of us coming from different directions and with different starting points.<br /> <br /> &lt;br&gt;<br /> === aspects / terms ===<br /> see also Startsequenz-pad<br /> &lt;br&gt;<br /> 3-4 sentences about each term/aspect<br /> ==== A ====<br /> mesh<br /> &lt;br&gt;<br /> meshwork<br /> &lt;br&gt;<br /> Lilian: with Tim Ingold<br /> <br /> ==== B ====<br /> translation&lt;br&gt;<br /> <br /> Anke: Translation seems to be necessary for understanding, for making things graspable, translation is immanent within processes of mediation. Beyond that translation seems to be crucial on very different layers/ superpositions of layers within material processes. Coming from the field of sound, my original material - sound - is an immaterial one. Since a long time there are also other immaterial materials in art, although we have to admit, they are still considered to be at the fringes of the artworld. In her book &quot;Das Material der Kunst&quot; from 2001, Monika Wagner wrote about central materials of the art of the 20th century, besides paint a.s.o. she also reflects on volatile materials like air and light. Now, obviously we are dealing with translations, with processes of transformations, of transmissions between the immaterial realm and the material realm all the time. In case of sound: The &quot;immaterial&quot; sound wave itself is created by a physical sound source, such as vibrating material or the physical membrane of a loudspeaker. The vibrations then propagate away from the source as acoustic waves, through a transmission medium such as &quot;immaterial&quot; gas, &quot;material&quot; liquid or &quot;Material&quot; solid. Furthermore translation processes between the analogue world and the digital world are our daily business (within the 21st century). Live streaming of music or video for instance is the delivery of Internet content in real-time, In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. Client end-users can use their media players to start playing digital files before the entire file has been transmitted. Still, the data of the digital recording is stored on a physical server, somewhere in this world, in a bunker, underground, out of our view. And the digital file is played back again by a physical loudspeaker. Last but not least, sound can be produced digitally, e.g. it can be live-coded and at the same time played back in the physical world. This is all very basic. In architecture and material sciences for instance physical processes are driven by digital information. Industry 4.0 is based on a physical-digital-physical (PDP) loop. Some movements are only possible in the digital world. As the line between digital and physical continues to blur, we are facing a continuous and cyclical flow of translations. But what is the &quot;inbetween&quot; of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?<br /> <br /> And how about a meshwork? Is a meshwork itself also transferable to translational procedures? Beyond connections between nodes (network) the meshwork as a maze of overlapping and intersecting lines seems to be in tension. In physics, tension may be described as the pulling force transmitted axially by the means of a string, a cable, chain, or similar one-dimensional continuous object or by each end of a rod, truss member, or similar three-dimensional object; tension might also be described as the action-reaction pair of forces acting at each end of said elements. How do artistic processes with material relate to the description of action-reaction? What are terms of acting, with and within and outside of material aspects?<br /> <br /> ==== C ====<br /> processes<br /> &lt;br&gt;<br /> process<br /> &lt;br&gt;<br /> Karin: translations from one system to the other, the inbetween<br /> <br /> Lilian: what is possible to be translated from one process to the other<br /> <br /> ==== D ====<br /> points of contacts<br /> &lt;br&gt;<br /> nodes&lt;br&gt;<br /> <br /> Karin: meshwork-context, contextualization&lt;br&gt;<br /> <br /> <br /> AFTERNOON<br /> <br /> ==== E ====<br /> archive<br /> &lt;br&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3392 2019-10-29T11:31:53Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> A: <br /> Braucht es eine Moderation und wenn ja, wer könnte das übernehmen? Oder teilen wir das unter uns auf?<br /> Und soll es ein Handout danach für die Beteiligten geben oder wäre dies evtl. in Form der kleinen Publikation, die wir potentiell angedacht haben, denkbar?<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, <br /> HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek&diff=3391 2019-10-29T11:29:07Z

<p>Anke: </p> <hr /> <div>=Konzept=<br /> '''Materiathek. Material perception in artistic processes. Material archive in the fringes of the arts.'''&lt;br&gt;<br /> <br /> Within the research project, we dedicate to perception and looking into material as basis for artistic production and practice. A central focus lays in a collaborative and transdisciplinary approach which draw together the knowledge on new materials, so called immaterials, speculative materials as well as ephemeral materials and their potentials of transformation. &lt;br&gt;<br /> Complementary to existing material discourses the topic is negotiated from the perspective of modes of action in art and an artistic processuality. The realization of the Materiathek is thought as a collection of research material and results, in an analogue, digital and cross-linked way.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Variante Übersetzung&lt;br&gt;<br /> The research project is dedicated to the observation and investigation of material as the basis of artistic production and practice. A major focus of the project lies in a transdisciplinary and collaborative approach that aims to bundle the investigation and knowledge of new materials, so-called immaterials, speculative and ephemeral materials and their transformation potentials in the arts. <br /> <br /> // Kommentar: noch aus den Anfangstexten unserer Forschungsvorhabens, muss aber nicht auftauchen in der Einladung&lt;br&gt;<br /> The perspectivation from various artistic-scientific experimental perspectives creates intersections in the understanding of materials in various disciplines such as the visual arts, architecture, design, natural sciences and technological materials research.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Variante Übersetzung / Anke: &lt;br&gt;<br /> Our research project is dedicated to the perception and investigation of material as the basis for artistic production and practice. A central focus is on a collaborative and transdisciplinary approach that brings together knowledge about new materials, so-called immaterials, speculative materials as well as ephemeral materials and their transformation potentials. <br /> In addition to the existing discourses on materials, the topic will be negotiated from the perspective of modes of action in art and an artistic processuality. The realisation of the Materiathek is understood as a collection of research material and results, in analogue, digital and networked ways.<br /> <br /> =Exkursionen=<br /> <br /> *[[Materialarchiv]] Zürich/Winterthur<br /> *[[Material Driven]] London<br /> *[[Architekturbibliothek]] Münster<br /> <br /> =Kontakte=<br /> ETH Zürich&lt;br&gt;<br /> Markus Joachim&lt;br&gt;<br /> Dipl.-Ing. Arch.&lt;br&gt;<br /> ETH Library, Department of Information and Learning Environments&lt;br&gt;<br /> [http://library.ethz.com library.ethz.com]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven&lt;br&gt;<br /> [http://materialdriven.com materialdriven.com]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Markus Rigert&lt;br&gt;<br /> Co-Director&lt;br&gt;<br /> Gewerbemuseum Winterthur&lt;br&gt;<br /> [http://gewerbemuseum.ch gewerbemuseum.ch]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> =Literatur, Quellen=<br /> &lt;br&gt;<br /> <br /> === [[Bücher]] ===<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> = [[Materiathek_Veranstaltung]] =<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> [[Category:References]]<br /> <br /> <br /> <br /> &lt;center&gt;&lt;tagcloud&gt;exclude=Dateilinks,Name,Links,Seiten_mit_defekten_Dateilinks,Seiten_mit_ignorierten_Anzeigetiteln,Imported_vocabulary,GNU_Linux,Hilfe:Bearbeiten,Hilfe:Artikel&lt;/tagcloud&gt;<br /> &lt;/center&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek&diff=3390 2019-10-29T11:28:50Z

<p>Anke: </p> <hr /> <div>=Konzept=<br /> '''Materiathek. Material perception in artistic processes. Material archive in the fringes of the arts.'''&lt;br&gt;<br /> <br /> Within the research project, we dedicate to perception and looking into material as basis for artistic production and practice. A central focus lays in a collaborative and transdisciplinary approach which draw together the knowledge on new materials, so called immaterials, speculative materials as well as ephemeral materials and their potentials of transformation. &lt;br&gt;<br /> Complementary to existing material discourses the topic is negotiated from the perspective of modes of action in art and an artistic processuality. The realization of the Materiathek is thought as a collection of research material and results, in an analogue, digital and cross-linked way.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Variante Übersetzung&lt;br&gt;<br /> The research project is dedicated to the observation and investigation of material as the basis of artistic production and practice. A major focus of the project lies in a transdisciplinary and collaborative approach that aims to bundle the investigation and knowledge of new materials, so-called immaterials, speculative and ephemeral materials and their transformation potentials in the arts. <br /> <br /> // Kommentar: noch aus den Anfangstexten unserer Forschungsvorhabens, muss aber nicht auftauchen in der Einladung&lt;br&gt;<br /> The perspectivation from various artistic-scientific experimental perspectives creates intersections in the understanding of materials in various disciplines such as the visual arts, architecture, design, natural sciences and technological materials research.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Variante Übersetzung / Anke:<br /> Our research project is dedicated to the perception and investigation of material as the basis for artistic production and practice. A central focus is on a collaborative and transdisciplinary approach that brings together knowledge about new materials, so-called immaterials, speculative materials as well as ephemeral materials and their transformation potentials. <br /> In addition to the existing discourses on materials, the topic will be negotiated from the perspective of modes of action in art and an artistic processuality. The realisation of the Materiathek is understood as a collection of research material and results, in analogue, digital and networked ways.<br /> <br /> =Exkursionen=<br /> <br /> *[[Materialarchiv]] Zürich/Winterthur<br /> *[[Material Driven]] London<br /> *[[Architekturbibliothek]] Münster<br /> <br /> =Kontakte=<br /> ETH Zürich&lt;br&gt;<br /> Markus Joachim&lt;br&gt;<br /> Dipl.-Ing. Arch.&lt;br&gt;<br /> ETH Library, Department of Information and Learning Environments&lt;br&gt;<br /> [http://library.ethz.com library.ethz.com]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven&lt;br&gt;<br /> [http://materialdriven.com materialdriven.com]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Markus Rigert&lt;br&gt;<br /> Co-Director&lt;br&gt;<br /> Gewerbemuseum Winterthur&lt;br&gt;<br /> [http://gewerbemuseum.ch gewerbemuseum.ch]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> =Literatur, Quellen=<br /> &lt;br&gt;<br /> <br /> === [[Bücher]] ===<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> = [[Materiathek_Veranstaltung]] =<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> [[Category:References]]<br /> <br /> <br /> <br /> &lt;center&gt;&lt;tagcloud&gt;exclude=Dateilinks,Name,Links,Seiten_mit_defekten_Dateilinks,Seiten_mit_ignorierten_Anzeigetiteln,Imported_vocabulary,GNU_Linux,Hilfe:Bearbeiten,Hilfe:Artikel&lt;/tagcloud&gt;<br /> &lt;/center&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek&diff=3389 2019-10-29T11:28:34Z

<p>Anke: </p> <hr /> <div>=Konzept=<br /> '''Materiathek. Material perception in artistic processes. Material archive in the fringes of the arts.'''&lt;br&gt;<br /> <br /> Within the research project, we dedicate to perception and looking into material as basis for artistic production and practice. A central focus lays in a collaborative and transdisciplinary approach which draw together the knowledge on new materials, so called immaterials, speculative materials as well as ephemeral materials and their potentials of transformation. &lt;br&gt;<br /> Complementary to existing material discourses the topic is negotiated from the perspective of modes of action in art and an artistic processuality. The realization of the Materiathek is thought as a collection of research material and results, in an analogue, digital and cross-linked way.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Variante Übersetzung&lt;br&gt;<br /> The research project is dedicated to the observation and investigation of material as the basis of artistic production and practice. A major focus of the project lies in a transdisciplinary and collaborative approach that aims to bundle the investigation and knowledge of new materials, so-called immaterials, speculative and ephemeral materials and their transformation potentials in the arts. <br /> <br /> // Kommentar: noch aus den Anfangstexten unserer Forschungsvorhabens, muss aber nicht auftauchen in der Einladung&lt;br&gt;<br /> The perspectivation from various artistic-scientific experimental perspectives creates intersections in the understanding of materials in various disciplines such as the visual arts, architecture, design, natural sciences and technological materials research.<br /> <br /> Variante Übersetzung / Anke:<br /> Our research project is dedicated to the perception and investigation of material as the basis for artistic production and practice. A central focus is on a collaborative and transdisciplinary approach that brings together knowledge about new materials, so-called immaterials, speculative materials as well as ephemeral materials and their transformation potentials. <br /> In addition to the existing discourses on materials, the topic will be negotiated from the perspective of modes of action in art and an artistic processuality. The realisation of the Materiathek is understood as a collection of research material and results, in analogue, digital and networked ways.<br /> <br /> =Exkursionen=<br /> <br /> *[[Materialarchiv]] Zürich/Winterthur<br /> *[[Material Driven]] London<br /> *[[Architekturbibliothek]] Münster<br /> <br /> =Kontakte=<br /> ETH Zürich&lt;br&gt;<br /> Markus Joachim&lt;br&gt;<br /> Dipl.-Ing. Arch.&lt;br&gt;<br /> ETH Library, Department of Information and Learning Environments&lt;br&gt;<br /> [http://library.ethz.com library.ethz.com]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven&lt;br&gt;<br /> [http://materialdriven.com materialdriven.com]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> Markus Rigert&lt;br&gt;<br /> Co-Director&lt;br&gt;<br /> Gewerbemuseum Winterthur&lt;br&gt;<br /> [http://gewerbemuseum.ch gewerbemuseum.ch]&lt;br&gt;<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> =Literatur, Quellen=<br /> &lt;br&gt;<br /> <br /> === [[Bücher]] ===<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> = [[Materiathek_Veranstaltung]] =<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> [[Category:References]]<br /> <br /> <br /> <br /> &lt;center&gt;&lt;tagcloud&gt;exclude=Dateilinks,Name,Links,Seiten_mit_defekten_Dateilinks,Seiten_mit_ignorierten_Anzeigetiteln,Imported_vocabulary,GNU_Linux,Hilfe:Bearbeiten,Hilfe:Artikel&lt;/tagcloud&gt;<br /> &lt;/center&gt;</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3388 2019-10-29T11:13:32Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> A: <br /> Soll es eine Moderation geben ?? Wenn ja, wer könnte das übernehmen?<br /> Und soll es ein Handout danach für die Beteiligten geben oder wäre dies evtl. in Form der kleinen Publikation, die wir potentiell angedacht haben, denkbar?<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, <br /> HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3387 2019-10-29T11:13:09Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> A: <br /> - soll es eine Moderation geben ?? Wenn ja, wer könnte das übernehmen?<br /> - soll es ein Handout danach für die Beteiligten geben oder wäre dies evtl. in Form der kleinen Publikation, die wir potentiell angedacht haben, denkbar?<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, <br /> HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3386 2019-10-29T11:12:53Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> A: <br /> - soll es eine Moderation geben ?? Wenn ja, wer könnte das sein?<br /> - soll es ein Handout danach für die Beteiligten geben oder wäre dies evtl. in Form der kleinen Publikation, die wir potentiell angedacht haben, denkbar?<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, <br /> HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3385 2019-10-29T11:12:25Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> A: FRAGEN <br /> - soll es eine Moderation geben ??<br /> - soll es ein Handout danach für die Beteiligten geben oder wäre dies evtl. in Form der kleinen Publikation, die wir potentiell angedacht haben, denkbar??<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, <br /> HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3384 2019-10-29T11:11:17Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> A: FRAGE - soll es eine Moderation geben ??<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, <br /> HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3383 2019-10-29T11:10:30Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, <br /> HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3382 2019-10-29T11:10:06Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, <br /> HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3381 2019-10-29T11:08:15Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3380 2019-10-29T11:07:43Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> K:<br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3379 2019-10-29T11:07:20Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshwork / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology<br /> <br /> A:<br /> * mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)<br /> * was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz, HMI (Beispiele von Human Machine Interfaces)</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3378 2019-10-29T10:59:28Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshworks / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> A:<br /> * die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)<br /> * Verfahren auf englisch: the procedure, the process, the method<br /> <br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3377 2019-10-29T10:55:05Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshworks / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3376 2019-10-29T10:50:50Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshworks / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding.<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3375 2019-10-29T10:49:30Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshworks / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> A: siehe auch &quot;embodied knowledge&quot;/&quot;embodied sonic interaction&quot; Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind.<br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology</div>

Anke https://exmediawiki.khm.de/index.php?title=Materiathek_Veranstaltung&diff=3374 2019-10-29T10:37:37Z

<p>Anke: </p> <hr /> <div>zurück zur [[Materiathek|Materiathek]]&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> <br /> ==== Materiathek Veranstaltung ====<br /> Januar 2020&lt;br&gt;<br /> Meshwork. Material as process, material processes, material in process within artistic practice&lt;br&gt;<br /> Workshop&lt;br&gt;<br /> 9th or 10th of January 2020, 9.30–12.30, 13.30–16.30<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork. <br /> &lt;br&gt;<br /> <br /> In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? <br /> &lt;br&gt;<br /> <br /> In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br /> <br /> &lt;br&gt;<br /> Frage: meeting statt workshop??&lt;br&gt;<br /> <br /> <br /> ==== Thema ====<br /> Meshwork and Interfaces for Material Processes&lt;br&gt;<br /> <br /> ===== Titel =====<br /> Meshwork&lt;br&gt;<br /> ===== Untertitel =====<br /> material as process, material processes, material in process&lt;br&gt;<br /> * in an artistic context<br /> &lt;br&gt;<br /> ===== Ausgangsfrage ===== <br /> (siehe auch Beginn eines Dialoges unten)&lt;br&gt;<br /> <br /> Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste&lt;br&gt;<br /> zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen&lt;br&gt;&lt;br&gt;<br /> <br /> morning&lt;br&gt;<br /> # What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices? <br /> afternoon&lt;br&gt;<br /> # How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Zeitpunkt ====<br /> 09. oder 10. Januar 2020&lt;br&gt;<br /> &lt;br&gt;<br /> ===== Ablauf =====<br /> morgens 9:30-12:30&lt;br&gt;<br /> ALLIANZEN&lt;br&gt;<br /> kurze Vorträge / Impulse&lt;br&gt;<br /> * externe Gäste (2-3)<br /> * Allianzen (oder einzeln) KHM-Interne (4-5)<br /> &lt;br&gt;<br /> immer zwei, dann kurze Fragenrunde, Anknüpfung&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Diskussion&lt;br&gt;<br /> <br /> nachmittags 13:30-16:30/17:00&lt;br&gt;<br /> INTERFACE&lt;br&gt;<br /> Impuls zum Thema und Möglichkeiten&lt;br&gt;<br /> Diskussion<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Gäste ====<br /> ===== mögliche externe Gäste =====<br /> Markus Joachim&lt;br&gt;<br /> ETH Zürich&lt;br&gt;<br /> &lt;br&gt;<br /> Adele Orcajada&lt;br&gt;<br /> MaterialDriven &lt;br&gt;<br /> &lt;br&gt;<br /> Anne-Sophie Lehmann (?)<br /> Chair of Modern Contemporary Art,<br /> Department of History of Art Architecture, Groningen&lt;br&gt;<br /> weitere Person aus Holland bzw. aus Deutschland (material labs??)<br /> &lt;br&gt;<br /> Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)&lt;br&gt;<br /> &lt;br&gt;<br /> Karin Lehmann&lt;br&gt;<br /> Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern<br /> &lt;br&gt;<br /> <br /> &lt;br&gt;<br /> <br /> ===== mögliche interne Gäste =====<br /> * Georg Trogemann (Algorithmus und Material)<br /> * hans w. koch (Sound als Material)<br /> * Verena Friedrich (Pflanzen als Material, Bio-Art)<br /> * Jacqueline Hen (Material und Gestaltung, Licht?)<br /> * Liz Haas, Hans Bernhard (Materialisierungen im Netz)<br /> * Axel Autschbach (Werkstatt und Materialverwendungen)<br /> * Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)<br /> * Alex Grein (Photographie als Material)<br /> * Ute Hörner, Mathias Antlfinger (interspecies perspectives)<br /> ....<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Dialog ====<br /> Thema Meshworks / Prozesse / Archivierung&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Bezugnahme auf die Mail vom 30.09.2019&lt;br&gt;<br /> <br /> L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)&lt;br&gt;<br /> <br /> K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?&lt;br&gt;<br /> Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.<br /> &lt;br&gt;<br /> <br /> L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht. <br /> <br /> K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?<br /> &lt;br&gt;<br /> <br /> L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.<br /> &lt;br&gt;<br /> <br /> K: &lt;br&gt;<br /> (bezugnehmend auch auf meine Mail vom 26.09., siehe unten)&lt;br&gt;<br /> Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?<br /> Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher &quot;zur-Verfügung-stellendes&quot; Material.<br /> &lt;br&gt;<br /> &lt;br&gt;<br /> <br /> Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019&lt;br&gt;<br /> K: <br /> * How can we collect material processes and for whom? <br /> * Differences between collecting materials — collecting material processes<br /> * — stages — observations — orientations<br /> <br /> * Goal: to connect different actors, to exchange in methods, different accentuations<br /> <br /> * To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.<br /> * (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)<br /> &lt;br&gt;<br /> <br /> * Questions of future collaborations (later...)<br /> * What kind of collection could be interesting for artists / artistic practices?<br /> &lt;br&gt;<br /> <br /> Above all / beginning with:<br /> * Definitions of (material) processes and their descriptions<br /> * Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.<br /> <br /> Another approach / another stream of questions<br /> * what about the aspect of dealing with these medial and digital artistic practices / methods<br /> * what are these<br /> * how connects this to the aspect of collecting / archiving / defining processes&lt;br&gt;<br /> <br /> &lt;br&gt;<br /> Trying out different approaches to material as process, processes of material, material in process&lt;br&gt;<br /> <br /> * how to experience and establish a connection to material<br /> * sensual, phenomenological, interpretative, affected, practical, performative<br /> * aspects of context, subject, object, time, space, technology</div>

Anke