exmediawiki - Benutzerbeiträge [de]

Material Affiliations

2022-02-21T13:01:23Z

Lilian: /* Concept */

This is our new landing page for phase one of the research project "Material Multiplicities"
with the title "Material Affiliations".

'''Material Affiliations. Intra-/Interconnected Agents within Artistic processes''' 

== Concept ==
This phase of the research project is dedicated to the processual aspects of artistic work and its interconnected procedures as Material Affiliations. The focus lays on the inter/intra-acting of active forces of materials, as well as the mental and physical skills and knowledges of the interconnected actors and how especially artistic processes re/act on and against the material.

Material Affiliations

2022-02-21T11:02:09Z

Lilian:

This is our new landing page for phase one of the research project "Material Multiplicities"
with the title "Material Affiliations".

'''Material Affiliations. Intra-/Interconnected Agents within Artistic processes''' 

== Concept ==
This phase of the research project is dedicated to the processual aspects of artistic work and its interconnected procedures as Material Affiliations. The focus lays on the inter/intra-acting of active forces of materials, as well as the mental and physical skills and knowledges of the interconnected actors and how expecially artistic processes re/act on and against the material.

Materiathek Home

2021-11-19T10:54:25Z

Lilian:

__NOTOC__
The reseach project's focus lies in a collaborative and transdisciplinary approach to material and its expanded qualities within artistic production and processes. 

=== [[Materiathek_-_Concept|Concept]] ===
''who we are and what we do''

=== [[Materiathek_-_Research|Research]] ===
''materials: categories, approaches, issues, processes, reflections''

=== [[Workshop Meshwork]] ===
''planning, organisation, topics''

=== [[Contacts/Excursions]] ===
''references, projects, partners and events''

=== [[Literature & Sources]] ===
''library inventory, books to order, artists & exhibitions''
 
 
 
 
 
 
 
 

[[Category:Material]]
[[Category:Research]]

Material immaterialities

2021-11-17T12:07:51Z

Lilian: /* -- 10.11. Light | Sound | Code */

<div class="noautonum">__TOC__
=== Seminarplan ===
 

==== -- '''27.10.''' Intro ====
<div style="overflow: hidden">
[[Datei:Rist-Zitat2.jpeg|links]]
</div>
<div style="overflow: hidden">
=====thoughts and sketches on ...=====
<gallery mode="nolines" showthumbnails>
Image:white noise.jpg|white noise
Image:piezo in out.jpg|piezo in out
Image:threeD things.jpg|threeD things
Image:usb-secrets.jpg|usb-secrets
</gallery>
</div>
 

==== -- '''03.11.''' Light | Sound | Code ====
=====examples=====
 
example (karin)
 
[https://rlfbckr.io/work/nowhere/ Ralf Baecker, ''Nowhere'', Installation, 2005]
 
aspects of programming and its inscription in material. data and behaviour visualization by generating a cnc-milled styrofoam landscape.
<div style="overflow: hidden">
[[Datei:02-Nowhere-Academy_of_Media_Arts_Cologne-2005small2.jpeg|links]]
</div>
 
 
 
example (Benita) 
<div style="overflow: hidden">
[https://www.youtube.com/watch?v=nu2NSbRuZqM Emanuele Balia, Fabrizio Casti, Sano Mungiamo, ENTU, 2021]
 
[[Datei:ENTU.jpg|links]]
</div>
 
 
 
example (Benita) 
<div style="overflow: hidden">
[https://www.youtube.com/watch?v=_6RJ3ZwNmzs Marco Barotti, Clams, 2020]
 
[[Datei:Clams.jpg|links]]
</div>
 
 
 
---------
<div style="overflow: hidden">
=====John Cage, ''4:33'', 1952=====
 

The notation shows the score for 4:33 by John Cage. The score is conceived for any instrument and combination of instruments. It instructs its performers not to play their instrument during the entire duration of the three parts of 30 seconds, 2 minutes 23 seconds and 1 minute 40 seconds.
 

[[Datei:The-Score-of-John-Cages-433 small.jpeg | links]]
[[Datei:John-Cage-433-1952-partitura-musicale-a-stampa-collezione-privata.png | 200px | mitte]]
</div>
 
 

==== -- '''10.11.''' Light | Sound | Code ====

continuing with 4:33
 
presentation of each group
 
discussion of the experience for each group, experience of time, (physical) space, the concentration during performing and observing alike. 
 
 

One last example based on John Cages 4:33 
by
[https://vimeo.com/211311024 Pauline Boudry and Renate Lorenz, Silent, 2017] (documentation of the piece only) 
With musician Aérea Negrot as performer. View of the exhibition at the Biennale of Moving Images, 2017.
 
Songtext and information: 
 
“Dear President 
Your profile is vague, 
You have no arms, no hair, no legs, and no sex 
Your enemy is your lover. 
I need make-up, underwear and hormones! 
Dear visitor, 
Are you optimistic, 
When our country is at war? 
Is freedom more masculine than genocide?
Is a lie more feminine than allies? 
What is the difference between terror, horror, and war? 
What is the difference between museum, artwork, and enemy? 
It sounds all the same to me!” 
 
Text by Aérea Negrot 
from Pauline Boudry/ Renate Lorenz, Silent (2016), HD video, Color, Sound, 7:34 minutes. 

Text on the work you can also find here: https://www.art-agenda.com/criticism/239481/biennale-de-l-image-en-mouvement 
Interview

 

==== -- '''17.11.''' Light | Sound | Code ====

Beispiele und Übung
 
light: 5 machines - 5 groups - 1 staging in the lab/house 

==== -- '''24.11.''' Handlungsanweisungen | Sprache | Körper ODER Gesellschaftliche Vereinbarungen | Spielregeln | Regelbrüche ====
Beispiele und Übung
 

==== -- '''01.12.''' Gesellschaftliche Vereinbarungen | Spielregeln | Regelbrüche ODER Fortführung Light | Sound | Code ====
Beispiele, Hörübung und Ort suchen, gegenseitiges Vorstellen in der KHM
 
Alternative: Exkursion nach Bonn
 

==== -- '''08.12.''' Orte aufsuchen, vorstellen ====
 

==== -- '''15.12. 10–13 Uhr''' eigene Projektidee, mögliche Präsentationsformate diskutieren ====
 

==== -- '''12.01.''' Stand der Dinge| Kolloquium ====
 

==== -- '''19.01.''' Weitere Übungen ====
 

==== -- '''26.01.''' Präsentationstermine, Orte ====
 
</div>
 

=== VV-Text ===

material immaterialities - experiments in writing, the digital and the audiovisual 
Frauke Eckhardt, Lilian Haberer, Karin Lingnau 

Wöchentlich, Mittwoch, 11:00 - 13:00 

Was meinen material immaterialities, Materialitäten und Immaterialitäten, Digitales und Analoges, Physikalisches, Ephemeres, Wortfragmente, Schallwellen, Taktiles, Luft, Rauch, Licht, Klang…? Der Bereich, der Materialitäten umschreibt und fasst, ist immens und wird aus unterschiedlichen Perspektiven divers beleuchtet.

Ausgehend von den Begrifflichkeiten und der Untersuchung des Bereichs werden im Seminar die Facetten, Brüche, Grenzen und Details der Materialitäten und Immaterialitäten auf praktischer wie denkender Seite verhandelt.

Ob skulptural, räumlich, sprachlich..., wie könnte eine Auseinandersetzung mit material immaterialities in unterschiedlichen Formaten aussehen? Welche Weisen des Ausstellens und Exponierens können dabei entstehen?

Ausformungen sind in digitalen wie physikalischen Formen denkbar. Passende oder auch neue Ausstellungs- und Präsentationsformate werden gemeinsam entwickelt und umgesetzt.
 
 
 
 
 
[[Category:Material]]
[[Category:Seminar]]

Material immaterialities

2021-11-16T10:40:22Z

Lilian: /* -- 10.11. Light | Sound | Code */

<div class="noautonum">__TOC__
=== Seminarplan ===
 

==== -- '''27.10.''' Intro ====
<div style="overflow: hidden">
[[Datei:Rist-Zitat2.jpeg|links]]
</div>
<div style="overflow: hidden">
=====thoughts and sketches on ...=====
<gallery mode="nolines" showthumbnails>
Image:white noise.jpg|white noise
Image:piezo in out.jpg|piezo in out
Image:threeD things.jpg|threeD things
Image:usb-secrets.jpg|usb-secrets
</gallery>
</div>
 

==== -- '''03.11.''' Light | Sound | Code ====
=====examples=====
 
example (karin)
 
[https://rlfbckr.io/work/nowhere/ Ralf Baecker, ''Nowhere'', Installation, 2005]
 
aspects of programming and its inscription in material. data and behaviour visualization by generating a cnc-milled styrofoam landscape.
<div style="overflow: hidden">
[[Datei:02-Nowhere-Academy_of_Media_Arts_Cologne-2005small2.jpeg|links]]
</div>
 
 
 
example (Benita) 
<div style="overflow: hidden">
[https://www.youtube.com/watch?v=nu2NSbRuZqM Emanuele Balia, Fabrizio Casti, Sano Mungiamo, ENTU, 2021]
 
[[Datei:ENTU.jpg|links]]
</div>
 
 
 
example (Benita) 
<div style="overflow: hidden">
[https://www.youtube.com/watch?v=_6RJ3ZwNmzs Marco Barotti, Clams, 2020]
 
[[Datei:Clams.jpg|links]]
</div>
 
 
 
---------
<div style="overflow: hidden">
=====John Cage, ''4:33'', 1952=====
 

The notation shows the score for 4:33 by John Cage. The score is conceived for any instrument and combination of instruments. It instructs its performers not to play their instrument during the entire duration of the three parts of 30 seconds, 2 minutes 23 seconds and 1 minute 40 seconds.
 

[[Datei:The-Score-of-John-Cages-433 small.jpeg | links]]
[[Datei:John-Cage-433-1952-partitura-musicale-a-stampa-collezione-privata.png | 200px | mitte]]
</div>
 
 

==== -- '''10.11.''' Light | Sound | Code ====

continuing with 4:33
 
presentation of each group
 
discussion of the experience for each group, experience of time, (physical) space, the concentration during performing and observing alike. 
 
 

One last example based on John Cages 4:33 
by
[https://vimeo.com/211311024 Pauline Boudry and Renate Lorenz, Silent, 2017] (documentation of the piece only) 
With musician Aérea Negrot as performer. View of the exhibition at the Biennale of Moving Images, 2017.
 
Songtext and information:
 
[[Datei:Aerea Negrot Text Silent.pdf|mini]]
 

==== -- '''17.11.''' Light | Sound | Code ====

Beispiele und Übung
 
light: 5 machines - 5 groups - 1 staging in the lab/house 

==== -- '''24.11.''' Handlungsanweisungen | Sprache | Körper ODER Gesellschaftliche Vereinbarungen | Spielregeln | Regelbrüche ====
Beispiele und Übung
 

==== -- '''01.12.''' Gesellschaftliche Vereinbarungen | Spielregeln | Regelbrüche ODER Fortführung Light | Sound | Code ====
Beispiele, Hörübung und Ort suchen, gegenseitiges Vorstellen in der KHM
 
Alternative: Exkursion nach Bonn
 

==== -- '''08.12.''' Orte aufsuchen, vorstellen ====
 

==== -- '''15.12. 10–13 Uhr''' eigene Projektidee, mögliche Präsentationsformate diskutieren ====
 

==== -- '''12.01.''' Stand der Dinge| Kolloquium ====
 

==== -- '''19.01.''' Weitere Übungen ====
 

==== -- '''26.01.''' Präsentationstermine, Orte ====
 
</div>
 

=== VV-Text ===

material immaterialities - experiments in writing, the digital and the audiovisual 
Frauke Eckhardt, Lilian Haberer, Karin Lingnau 

Wöchentlich, Mittwoch, 11:00 - 13:00 

Was meinen material immaterialities, Materialitäten und Immaterialitäten, Digitales und Analoges, Physikalisches, Ephemeres, Wortfragmente, Schallwellen, Taktiles, Luft, Rauch, Licht, Klang…? Der Bereich, der Materialitäten umschreibt und fasst, ist immens und wird aus unterschiedlichen Perspektiven divers beleuchtet.

Ausgehend von den Begrifflichkeiten und der Untersuchung des Bereichs werden im Seminar die Facetten, Brüche, Grenzen und Details der Materialitäten und Immaterialitäten auf praktischer wie denkender Seite verhandelt.

Ob skulptural, räumlich, sprachlich..., wie könnte eine Auseinandersetzung mit material immaterialities in unterschiedlichen Formaten aussehen? Welche Weisen des Ausstellens und Exponierens können dabei entstehen?

Ausformungen sind in digitalen wie physikalischen Formen denkbar. Passende oder auch neue Ausstellungs- und Präsentationsformate werden gemeinsam entwickelt und umgesetzt.
 
 
 
 
 
[[Category:Material]]
[[Category:Seminar]]

Datei:Aerea Negrot Text Silent.pdf

2021-11-16T10:39:50Z

Lilian:

Songtext by Aerea Negrot and information on Silent by Boudry/ Lorenz

Materiathek - Concept

2020-01-16T15:47:26Z

Lilian:

back to [[Materiathek Home|Home]]

----

'''Material perception in artistic processes. Materiathek and Material archive in the fringes of the arts.'''
 
 

The research project is dedicated to the observation and investigation of material as the basis of artistic production and practice. A central focus lies in a collaborative and transdisciplinary approach that draws together the knowledge on new materials –so-called immaterials–, speculative materials, as well as ephemeral materials and their potentials of transformation. In addition to including existing discourses, the topic will be articulated with the perspectives and modes of action in art and their processuality. Within the project, our Materiathek. Material archive is being established. It is conceived as a collection of research material and results in analogue, digital, and networked ways. With various artistic-scientific experimental perspectives, it aims to create intersections in the understanding of materials in multiple disciplines such as the visual arts, architecture, design, natural sciences and technological material research.
 
 

A research project by [https://www.khm.de/lehrende/id.27799.prof-dr-lilian-haberer/ Prof. Dr. Lilian Haberer], [https://www.khm.de/lehrende/id.28694.prof-anke-eckardt/ Prof. Anke Eckardt], [https://www.khm.de/lehrende/id.21051.karin-lingnau/ Karin Lingnau], Johannes Hoffmann, [http://www.agustinaandreoletti.com/info/ Agustina Andreoletti] at the Academy of Media Arts Cologne (KHM, 2019)

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:58:54Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
Johannes: what does it mean as a materialisation - micro, makro. if it is a scalable rule, it should apply to both.
 
 
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.
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. 
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. 
 
points of contacts
 
nodes 
 
Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?
 
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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics
open circle: no feedback, rather a refeed cycle
 

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 "inbetween" of material?

processes
 
process
 
Karin:
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

AFTERNOON

==== D ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:58:32Z

Lilian:

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:57:35Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
Johannes: what does it mean as a materialisation - micro, makro. if it is a scalable rule, it should apply to both.
 
 
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.
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. 
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. 
 
points of contacts
 
nodes 
 
Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?
 
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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics
open circle: no feedback, rather a refeed cycle
 

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 "inbetween" of material?

==== C ====
processes
 
process
 
Karin:
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

AFTERNOON

==== D ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:56:38Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
Johannes: what does it mean as a materialisation - micro, makro
 
 
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.
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. 
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. 
 
points of contacts
 
nodes 

Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?
 
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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics
open circle: no feedback, rather a refeed cycle
 

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 "inbetween" of material?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
 
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

AFTERNOON

==== D ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:55:55Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
Johannes: what does it mean as a materialisation - micro, makro
 
 
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.
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. 
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. 
 
points of contacts
 
nodes 

Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and processes and how to document them?
 
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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics
open circle: no feedback, rather a refeed cycle
 

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 "inbetween" of material?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
 
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

AFTERNOON

==== D ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:50:16Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
Johannes: what does it mean as a materialisation - micro, makro
 
 
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.
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. 
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. 
 
points of contacts
 
nodes 

Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and how to document them?
 
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 "Das Material der Kunst" 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,
 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics
open circle: no feedback, rather a refeed cycle
 
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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 "inbetween" of material?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

AFTERNOON
==== D ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:49:31Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
Johannes: what does it mean as a materialisation - micro, makro
 
 
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.
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. 
 
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. 
 
points of contacts
 
nodes 

Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and how to document them?
 
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 "Das Material der Kunst" 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,
 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics
open circle: no feedback, rather a refeed cycle
 
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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 "inbetween" of material?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

AFTERNOON
==== D ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:47:28Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
Johannes: what does it mean as a materialisation - micro, makro
 
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. 
 
points of contacts
 
nodes 

Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and how to document them?
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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 "inbetween" of material?

 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle
 
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

AFTERNOON
==== D ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:47:10Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
Johannes: what does it mean as a materialisation - micro, makro
 
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. 
 
points of contacts
 
nodes 

Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and how to document them?
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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 "inbetween" of material?

 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle
 
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:46:35Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
Johannes: what does it mean as a materialisation - micro, makro
 
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. 
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and how to document them?
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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 "inbetween" of material?

 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle
 
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:45:30Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and how to document them?
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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 "inbetween" of material?

 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle
 
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== B ====
points of contacts
 
nodes 

Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)

 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:44:01Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh, meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.
 
Johannes: Translation as a simplification tool to ''understand'' an ''idea'' and layer of a complex system.
Architecture uses different kinds of plans to communicate/isolate certain immanent aspects.
If put in the right position, the 3-dimensional body of can be described with ***wenigen 2D darstellungen
But this is documenting a fixed state, what about more ephemeral materials and how to document them?
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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 "inbetween" of material?

 
Karin: 
"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle
 
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 
 
Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)

 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:32:35Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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.
 
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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)

 
Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:32:06Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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.
 
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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)

 
Agustina 
- The importance of words and metaphors 
- Actor–network theory 
- meshwork - entanglement 
- intra-action - unstable becoming 
- Agents and agency 
- Identity / permeability 
- understands agency as not an inherent property of an individual or human to be exercised, but as a dynamism of forces 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:24:27Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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.
 
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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: Processes: Acting performatively on and with materials, material works also as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:23:23Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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.
 
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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: Processes: Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:22:26Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.
 
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 "Das Material der Kunst" 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,
 
Lilian:
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.
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.
 
Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.
 
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.
 
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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?
 

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: what is possible to be translated from one process to the other 
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:21:28Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.

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 "Das Material der Kunst" 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,

 
Lilian:
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.
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.

Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.

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.

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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: what is possible to be translated from one process to the other 
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
* meshes as overlapping fields of nodes, rather a confluence
* interaction of nodes, points of contacts
* intra-action between meshes?
* the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
 
physical examples? (mainly textile structures)

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:18:58Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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.

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 "Das Material der Kunst" 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,

 
Lilian:
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.
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.

Anke: Translations also are processes of transmissions between the immaterial realm and the material realm all the time. In case of sound: The "immaterial" 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 "immaterial" gas, "material" liquid or "material" solid.

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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: what is possible to be translated from one process to the other 
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
meshes as overlapping fields of nodes, rather a confluence
interaction of nodes, points of contacts
intra-action between meshes?
the material is not fixed within the meshwork but in constant flux and becoming, looking at a state at one moment...
physical examples? (mainly textile structures)

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:16:10Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

 
Lilian:
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.
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.

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: what is possible to be translated from one process to the other 
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
meshes as overlapping fields of nodes, rather a confluence
physical examples? (mainly textile structures)

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:15:42Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

 
Lilian:
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.
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.

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: what is possible to be translated from one process to the other 
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 
physical examples? (mainly textile structures)

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:15:19Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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? 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

 
Lilian:
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.
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.

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween
talking about process and processualization
* production processes (industrial / artistic etc)
* material itself
* smart materials as an initiated process in itself

aspect of transformation and/or change: in relation to matter and decay; material and "mutation"

"refeed":
* concept of transfer and transformation within systems
* physical system /technologies/materials --> digital system / technologies/haptics --> analogue/physical system / materials
* change of world view/perspectives
* transformation of material
* adaption and change of aesthetics

open circle: no feedback, rather a refeed cycle

---

Lilian: what is possible to be translated from one process to the other 
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:14:05Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

 
Lilian:
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.
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.

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween

Lilian: what is possible to be translated from one process to the other 
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:13:12Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

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?
 
Lilian:
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.
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.

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween

Lilian: what is possible to be translated from one process to the other 
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:12:43Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

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?
 
Lilian:
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.
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.

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween

Lilian: what is possible to be translated from one process to the other
Processes
Acting performatively, material as process itself 
 
collaborative procedures (Anke, Karin, Lilian)
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, 

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:11:14Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

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?
 
Lilian:
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.
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.

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween

Lilian: what is possible to be translated from one process to the other

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:10:19Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 
 
“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. 
 
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.
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. 
 
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. 
 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

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?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween

Lilian: what is possible to be translated from one process to the other

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:09:36Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold) 

“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. 

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.
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. 

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. 

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

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?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween

Lilian: what is possible to be translated from one process to the other

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 

AFTERNOON

==== E ====
archive

Themen/Sätze Sammlung für dialogische Einleitung

2020-01-16T12:07:01Z

Lilian:

back to [[Materiathek_Home|Home]] | [[Workshop_Meshwork|Workshop]] 
 

first notes about the topic of mesh(work)
https://exmediawiki.khm.de/exmediawiki/index.php/Workshop_%C3%9Cberlegungen/Notizen#Dialog
 

more notes (taken during chats): formulations of questions /possible dialogue sequences for a start of the workshop or for later introductions during the day,
 
see the following "startsequence"-pad:
 
https://pad.freifunk.net/p/materiathek_startsequenz 
 
arrangement of questions into "chapters" 
What kind of questions are sensible and suitable for us?
Which questions are suitable for our project and the main question of our project (which is...)?
Which are relevant for each of us coming from different directions and with different starting points.

 
=== aspects / terms ===
see also Startsequenz-pad
 
3-4 sentences about each term/aspect
==== A ====
mesh
 
meshwork
 
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?
Thinking is the movement” (Ingold)

“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.

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.
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.

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.

==== B ====
translation 

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 "Das Material der Kunst" 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 "immaterial" 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 "immaterial" gas, "material" liquid or "material" 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 "inbetween" of material? How do we define physicality and all overlapping, intersecting, negating, grazing features in the non-physical realm?

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?

==== C ====
processes
 
process
 
Karin: translations from one system to the other, the inbetween

Lilian: what is possible to be translated from one process to the other

==== D ====
points of contacts
 
nodes 

Karin: meshwork-context, contextualization 

AFTERNOON

==== E ====
archive

Material--first taxonomies

2020-01-12T11:21:21Z

Lilian:

back to [[Materiathek Home|Home]] | [[Materiathek_-_Research|Research]]

----

'''On the arrangement/array and structuring of material and materiality in an artistic context'''
 
'''Creating a system where to find material, organizing and listing differences of material without choosing a setting of single "classifications"'''

 

comment 1:
not to be understood as complete lists, more of a practical approach from different angles. 
comment 2:
these classifications are not exclusive to each other and can be linked or crosslinked. 
comment 3:
classifications as groups of materials, contextualized rather than singled out or hierarchized 
comment 4:
classifications as titles and orientations, to be continued... 
comment 5: groupings as a meshwork of nodes of contact 
 
=====Different approaches to classifications=====
{| class="wikitable sortable"
|-
| practical || artistic || production related / industrial || functional || semantic || sensual || contextualized || processual || ontological || contextualized || historical || spiritual || embodied || aesthetic || ...
|}
 
 

=====Material families=====
classified according to raw material and resources, production related / industrial
{| class="wikitable"
|-
| paper || wood || metal || synthetics || rubber || stone/minerals || composites || organic || smart || glass || polymers || ceramics || ...
|}
 
 

=====Material features=====
classified according to properties and functionalities
{| class="wikitable"
|-
| reacting || conductive || reusable / recyclable || moldable / shapeable || adhesive / resolvent || resilient
|-
|digital || immaterial || programmeable || oriented on other sensory reception || phenomenological ||...
|}
 
 

=====Material contextualisation=====
classified based on a multidisciplinary approach, distinctions made by highlighting single disciplines (exMedia) 
{| class="wikitable"
|-
| informatics || sound || design || architecture || 3D / animation / VR / AR || film/ games || theory || bio-art || human-animal studies|| ...
|}

 
 

=====Fictional taxonomy, example one: Borges=====
Jorge Luis Borges "Emporio celestial de conocimientos benévolos", 
approx. 1942, a fictitious taxonomy of animals, a "celestial emporium of benevolent knowledge": 
(a) belonging to the Emperor 
(b) embalmed 
(c) trained 
(d) piglets 
(e) sirens 
(f) fabulous 
(g) stray dogs 
(h) included in this classification 
(i) trembling like crazy 
(j) innumerables 
(k) drawn with a very fine camelhair brush 
(l) et cetera 
(m) just broke the vase 
(n) from a distance look like flies 

see also https://www.crockford.com/wilkins.html
 
 
 
[[Category:Material]]

Material--first taxonomies

2020-01-12T11:16:21Z

Lilian:

back to [[Materiathek Home|Home]] | [[Materiathek_-_Research|Research]]

----

'''On the arrangement/array and structuring of material and materiality in an artistic context'''
 
'''Creating a system where to find material, organizing and listing differences of material without choosing a setting of single "classifications"'''

 

comment 1:
not to be understood as complete lists, more of a practical approach from different angles. 
comment 2:
these classifications are not exclusive to each other and can be linked or crosslinked. 
comment 3:
classifications as groups of materials, contextualized rather than singled out or hierarchized 
comment 4:
classifications as titles and orientations, to be continued... 
comment 5: groupings as a meshwork of nodes of contact 
 
=====Different approaches to classifications=====
{| class="wikitable sortable"
|-
| practical || artistic || production related / industrial || functional || semantic || sensual || contextualized || processual || ontological || contextualized || historical || spiritual || embodied || aesthetic || ...
|}
 
 

=====Material families=====
classified according to raw material and resources, production related / industrial
{| class="wikitable"
|-
| paper || wood || metal || synthetics || rubber || stone/minerals || composites || organic || smart || glass || polymers || ceramics || ...
|}
 
 

=====Material features=====
classified according to properties and functionalities
{| class="wikitable"
|-
| reacting || conductive || reusable / recyclable || moldable / shapeable || adhesive / resolvent || resilient
|-
|digital || immaterial || programmeable || oriented on other sensory reception || phenomenological ||...
|}
 
 

=====Material contextualisation=====
classified based on a multidisciplinary approach, distinctions made by highlighting single disciplines (exMedia) 
{| class="wikitable"
|-
| informatics || sound || design || architecture || 3D / animation / VR || theory ||...
|}

 
 

=====Fictional taxonomy, example one: Borges=====
Jorge Luis Borges "Emporio celestial de conocimientos benévolos", 
approx. 1942, a fictitious taxonomy of animals, a "celestial emporium of benevolent knowledge": 
(a) belonging to the Emperor 
(b) embalmed 
(c) trained 
(d) piglets 
(e) sirens 
(f) fabulous 
(g) stray dogs 
(h) included in this classification 
(i) trembling like crazy 
(j) innumerables 
(k) drawn with a very fine camelhair brush 
(l) et cetera 
(m) just broke the vase 
(n) from a distance look like flies 

see also https://www.crockford.com/wilkins.html
 
 
 
[[Category:Material]]

Material--first taxonomies

2020-01-09T11:29:45Z

Lilian:

On the arrangement/array and structuring of material and materiality in an artistic context 
creating a system where to find material, organizing and listing differences of material without choosing a setting of single "classifications" 

comment 1:
not to be understood as complete lists, more of a practical approach from different angles. 
comment 2:
these classifications are not exclusive to each other and can be linked or crosslinked. 
comment 3:
classifications as groups of materials, contextualized rather than singled out or hierarchized 
comment 4:
classifications as titles and orientations, to be continued... 
comment 5: groupings as a meshwork of nodes of contact 
 
=====Different approaches to classifications=====
{| class="wikitable sortable"
|-
| practical || artistic || production related / industrial || functional || semantic || sensual || contextualized || processual || ...
|}
 
 

=====Material families=====
classified according to raw material and resources, production related / industrial
{| class="wikitable"
|-
| paper || wood || metal || synthetics || rubber || stone/minerals || composites || organic || smart || ...
|}
 
 

=====Material features=====
classified according to properties and functionalities
{| class="wikitable"
|-
| reacting || conductive || reusable / recyclable || moldable / shapeable || adhesive / resolvent || resilient
|-
|digital || immaterial || programmeable || oriented on other sensory reception || phenomenological ||...
|}
 
 

=====Material contextualisation=====
classified based on a multidisciplinary approach, distinctions made by highlighting single disciplines (exMedia) 
{| class="wikitable"
|-
| informatics || sound || design || architecture || 3D / animation / VR || theory ||...
|}

 
 

=====Fictional taxonomy, example one: Borges=====
Jorge Luis Borges "Emporio celestial de conocimientos benévolos", 
approx. 1942, a fictitious taxonomy of animals, a "celestial emporium of benevolent knowledge": 
(a) belonging to the Emperor 
(b) embalmed 
(c) trained 
(d) piglets 
(e) sirens 
(f) fabulous 
(g) stray dogs 
(h) included in this classification 
(i) trembling like crazy 
(j) innumerables 
(k) drawn with a very fine camelhair brush 
(l) et cetera 
(m) just broke the vase 
(n) from a distance look like flies 

see also https://www.crockford.com/wilkins.html
 
 
 
[[Category:Material]]

Material--first taxonomies

2020-01-09T11:29:07Z

Lilian:

On the arrangement/array and structuring of material and materiality in an artistic context 
creating a system where to find material, organizing and listing differences of material without choosing a setting of single "classifications" 

comment 1:
not to be understood as complete lists, more of a practical approach from different angles. 
comment 2:
these classifications are not exclusive to each other and can be linked or crosslinked. 
comment 3:
classifications as groups of materials, contextualized rather than singled out or hierarchized
 
comment 4:
classifications as titles and orientations, to be continued... 
 
comment 5: groupings as a meshwork of nodes of contact 
 
=====Different approaches to classifications=====
{| class="wikitable sortable"
|-
| practical || artistic || production related / industrial || functional || semantic || contextualized || processual || ...
|}
 
 

=====Material families=====
classified according to raw material and resources, production related / industrial
{| class="wikitable"
|-
| paper || wood || metal || synthetics || rubber || stone/minerals || composites || organic || smart || ...
|}
 
 

=====Material features=====
classified according to properties and functionalities
{| class="wikitable"
|-
| reacting || conductive || reusable / recyclable || moldable / shapeable || adhesive / resolvent || resilient
|-
|digital || immaterial || programmeable || oriented on other sensory reception || phenomenological ||...
|}
 
 

=====Material contextualisation=====
classified based on a multidisciplinary approach, distinctions made by highlighting single disciplines (exMedia) 
{| class="wikitable"
|-
| informatics || sound || design || architecture || 3D / animation / VR || theory ||...
|}

 
 

=====Fictional taxonomy, example one: Borges=====
Jorge Luis Borges "Emporio celestial de conocimientos benévolos", 
approx. 1942, a fictitious taxonomy of animals, a "celestial emporium of benevolent knowledge": 
(a) belonging to the Emperor 
(b) embalmed 
(c) trained 
(d) piglets 
(e) sirens 
(f) fabulous 
(g) stray dogs 
(h) included in this classification 
(i) trembling like crazy 
(j) innumerables 
(k) drawn with a very fine camelhair brush 
(l) et cetera 
(m) just broke the vase 
(n) from a distance look like flies 

see also https://www.crockford.com/wilkins.html
 
 
 
[[Category:Material]]

Material--first taxonomies

2020-01-09T11:27:37Z

Lilian:

On the arrangement/array and structuring of material and materiality in an artistic context 
creating a system where to find material, organizing and listing differences of material without choosing a setting of single "classifications" 

comment 1:
not to be understood as complete lists, more of a practical approach from different angles. 
comment 2:
these classifications are not exclusive to each other and can be linked or crosslinked. 
comment 3:
classifications as groups of materials, contextualized rather than singled out or hierarchized
 
comment 4:
classifications as titles and orientations, to be continued... 
 
 
=====Different approaches to classifications=====
{| class="wikitable sortable"
|-
| practical || artistic || production related / industrial || functional || semantic || contextualized || ...
|}
 
 

=====Material families=====
classified according to raw material and resources, production related / industrial
{| class="wikitable"
|-
| paper || wood || metal || synthetics || rubber || stone/minerals || composites || organic || smart || ...
|}
 
 

=====Material features=====
classified according to properties and functionalities
{| class="wikitable"
|-
| reacting || conductive || reusable / recyclable || moldable / shapeable || adhesive / resolvent || resilient
|-
|digital || immaterial || programmeable || oriented on other sensory reception || phenomenological ||...
|}
 
 

=====Material contextualisation=====
classified based on a multidisciplinary approach, distinctions made by highlighting single disciplines (exMedia) 
{| class="wikitable"
|-
| informatics || sound || design || architecture || 3D / animation / VR || theory ||...
|}

 
 

=====Fictional taxonomy, example one: Borges=====
Jorge Luis Borges "Emporio celestial de conocimientos benévolos", 
approx. 1942, a fictitious taxonomy of animals, a "celestial emporium of benevolent knowledge": 
(a) belonging to the Emperor 
(b) embalmed 
(c) trained 
(d) piglets 
(e) sirens 
(f) fabulous 
(g) stray dogs 
(h) included in this classification 
(i) trembling like crazy 
(j) innumerables 
(k) drawn with a very fine camelhair brush 
(l) et cetera 
(m) just broke the vase 
(n) from a distance look like flies 

see also https://www.crockford.com/wilkins.html
 
 
 
[[Category:Material]]

Workshop Meshwork To Do

2020-01-09T10:26:20Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [vorhanden, Donnerstag anordnen]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel/Flipchart zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [vorhanden]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina, Bestellung]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen [Moderator*innen]
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
**Mikro Lecture [Agustina]
**Open Discussion [Karin]
**Summary [Anke, Lilian]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Wer ist am Tag anwesend?
# Jacqueline Hen
# Alex Grein
# hans w. koch
# Tobias Hartmann
# Axel Autschbach
# Zahra Ganji
# Anna Comiotto
# Christian Sievers

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister

Workshop Meshwork To Do

2020-01-09T10:24:13Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [ready]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [Karin]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen [Moderator*innen]
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
**Mikro Lecture [Agustina]
**Open Discussion [Karin]
**Summary [Anke, Lilian]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Wer ist am Tag anwesend?
# Jacqueline Hen
# Alex Grein
# hans w. koch
# Tobias Hartmann
# Axel Autschbach
# Zahra Ganji
# Anna Comiotto
# Christian Sievers

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister

Workshop Meshwork To Do

2020-01-09T10:21:01Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [ready]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [Karin]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen [Moderator*innen]
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
:Mikro Lecture [Agustina]
:Open Discussion [Karin]
:Summary [Anke, Lilian]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Wer ist am Tag anwesend?
# Jacqueline Hen
# Alex Grein
# hans w. koch
# Tobias Hartmann
# Axel Autschbach
# Zahra Ganji
# Anna Comiotto
# Christian Sievers

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister

Workshop Meshwork To Do

2020-01-09T10:07:05Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [ready]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [Karin]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
:Mikro Lecture [Agustina]
:Open Discussion [Karin]
:Summary [Anke, Lilian]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Wer ist am Tag anwesend?
# Jacqueline Hen
# Alex Grein
# hans w. koch
# Tobias Hartmann
# Axel Autschbach
# Zahra Ganji
# Anna Comiotto
# Christian Sievers

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister

Workshop Meshwork To Do

2020-01-09T10:02:31Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [ready]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [Karin]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
Mikro Lecture [Agustina]
Open Discussion [Karin]
Summary [Anke, Lilian]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Wer ist am Tag anwesend?
# Jacqueline Hen
# Alex Grein
# hans w. koch
# Tobias Hartmann
# Axel Autschbach
# Zahra Ganji
# Anna Comiotto
# Christian Sievers

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister

Workshop Meshwork To Do

2020-01-09T09:59:30Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [ready]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [Karin]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
Mikro Lecture [Agustina]
Open Discussion [Karin]
Summary [Anke, Lilian]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Wer ist am Tag anwesend?
# Jacqueline Hen
# Alex Grein
# hans w. koch
# Tobias Hartmann
# Axel Autschbach
# Zahra Ganji
# Anna Comiotto
# Christian Sievers

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister

Workshop Meshwork To Do

2020-01-09T09:59:10Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [ready]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [Karin]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
Mikro Lecture [Agustina]
Open Discussion [Karin]
Summary [Lilian, Anke]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Wer ist am Tag anwesend?
# Jacqueline Hen
# Alex Grein
# hans w. koch
# Tobias Hartmann
# Axel Autschbach
# Zahra Ganji
# Anna Comiotto
# Christian Sievers

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister

Workshop Meshwork To Do

2020-01-09T09:51:04Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [ready]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [Karin]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
Mikro Lecture [Agustina]
Open Discussion [Karin]
Summary [Lilian]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Wer ist am Tag anwesend?
# Jacqueline Hen
# Alex Grein
# hans w. koch
# Tobias Hartmann
# Axel Autschbach
# Zahra Ganji
# Anna Comiotto
# Christian Sievers

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister

Workshop Meshwork To Do

2020-01-09T09:21:26Z

Lilian:

zurück zur [[Materiathek_Veranstaltung|Materiathek_Veranstaltung]] 
 

///// 07.1.2020

# Vorab, Sykpe mit Adele (hat stattgefunden, ist informiert) , Telefonat mit Markus am Montag 13.01., damit sie wissen, was sie präsentieren wollen und wir, was sie denken und erwarten? [Lilian]

* Organisatorisch
# Das exMedia Lab wäre ja nun der Workshopraum:
# Sitzsituation (Stühle/Tische) [ready]
# Technik [Johannes]
# Papier / Marker / Tape [Karin]
# evtl. Tafel zum Schreiben oder wie sollen die Workshopergebnisse festgehalten werden? [Karin]
# Adapter [alle!]

* Ausstattung
# Verköstigung Gläser/Becher [Karin]
# Servietten [Agustina]
# Getränke und Obst/Knabberzeug? [Agustina]
# Was machen wir mittags? [Agustina]
# Wie werden die Präsentationen, wer kümmert sich um die Einbindung der internen Gäste, Zuhörerinnen
# Handout [Johannes]

* Inhaltlich
# Aufteilung und Gedanken Einführung, (Reihenfolge, was genau sagt jeder kurz, Resümee)
# Wer übernimmt welche Moderation für die einzelnen Teile?
Mikro Lecture [Agustina]
Open Discussion [Karin]
Summary [Lilian]
# Wer achtet auf welchen Zeitplan und Redeanteile? [Agustina]
# Notizen [Anke]
# Fotos [Johannes]

/////

1) Workshop "Meshwork":
* Feedback der drei eingeladenen Gäste: Termin 17.01.
Gibt es Bedarf, weitere potentielle Gäste anzufragen? nein, bzw. Nachfrage bei Anna Comiotto (Karin fragt Günay)
* Dialogpartner für Impulse: wer präsentiert mit wem: Anke/Hans Bernhard; Lilian/Alex Grein; Karin/Jaqueline

* Wer macht was für die Vorbereitung des Workshops?
# Plakat, Flyer/Handout (Johannes)
# Reisebuchung / Hotelbuchung (in Absprache mit Doro: Karin spricht mit ihr) (Johannes, Agustina)
# Bibliotheksraum reservieren (Johannes)
# Tag selbst: Mittagessen/ Getränke/ Snacks.Kekse...Verpflegung/Reservierung Restaurant (Agustina, Lilian)
# Ankündigung innerhalb der KHM
# Technikaufbau & Technikbetreuung während des Workshops (Johannes)

* Wir laden ein: siehe Liste Agustina
* Moderation (wir alle)
* Dokumentation (währenddessen, was machen wir danach) = Audiomitschnitt, Gruppenfoto? (Kamera: Karin; Audiomitschnitt: Johannes)
 

* Maren informieren, dass Doro involviert ist (Lilian)
* Aufstellung/Zeitplan/To dos bis zum Workshop 
 

weiterhin vorbereiten:
* Überlegungen Nachbereitungen, Broschüre....
* Dialogvorträge Format
* Einladung, wie groß soll der Workshop sein (nach Anmeldung: nein, nach Einladung) 

* Einleitung dialogisch: '''Sätze im Wiki schonmal sammeln!'''
* Genauer Zeitplan: Blöcke einteilen, keine genauen Uhrzeiten
* Fragen notieren
 
 

2) Broschüre zum Abschluss des ersten Jahres:
* Format, Umfang, Auflage, wie/wo veröffentlichen, Beiträge (welche, wieviele, von wem), deutsch oder englisch, Druckkosten, Vertrieb, Rolle der Bibliothek darin
 

3) Treffen nach der Veranstaltung: Vorschlag: Treffen in der zweiten Blockwoche (27.01.)

4) Abschluss des KHM Forschungsprojektes für 2019:
* Was wird benötigt für KHM internen Abschluss?
 
5) Wiki als befüllten Recherche-, Archiv- und Dokumentationsort festigen:
* Januar Vorbereitung
* Ergebnisse Exkursion
* Fortführung Dialoge + eigene Statements
* weitere Auflistung von Kontakten, Anlaufstellen, anderen Forschungsprojekten, die ähnliche Themen aufweisen....
* weitere Kooperationspartner/-institutionen?
 
6) Außerdem:
* Wollen wir noch weiter Exkursionen angehen?
* Sichtung der Literatur, evtl. neue Kategorie in Bibliothek anlegen? Weitere Literatur anschaffen?
* Orientierung/Aussicht 2020
 
 
 

*Einladungsemails

*KARIN
# Jaqueline Hen
# Georg Trogemann
# Birgit Trogemann
# hans w. koch
# Tobias Hartmann
# Barbara Köhler

* ANKE
# Axel Autschbach
# Bernd Voss
# Hans Bernhard
# Verena Friedrich

* LILIAN
# Alex Grein
# Peter Bexte
# Ute Hörner / CMUK?
# Nadja Küchenmeister