Materiathek Veranstaltung: Unterschied zwischen den Versionen

Aktuelle Version vom 8. Januar 2020, 16:19 Uhr

zurück zur Materiathek

friday, 17th

morning
greeting (Karin)
introduction round (all)
aspects/terms (everyone alternating)

dialogues/alliances: max 15 min/
guests:

Adele Orcajada (MaterialDriven, London);
Markus Joachim (ETH, Zürich)
Jacqueline Hen/Karin Lingnau (process of translation/topic of material fiction);
Anke Eckardt/Hans Bernhard (information and collecting; storage medium, agency);
Lilian Haberer/Alex Grein (archives/artistic archives);
Johannes mit?

Agustina: moderation/timing

group discussion: following every second dialogue (also 15 min plus 5 min change of equipment)

equipment: white board/Tafel, projector

noon:

microlectures (13:30-14:45) 5 min explanation what is a microlecture? (Agustina)
Exploring different ways to display material processes and how interfaces could help to exemplify these in an analogue-digital-networked environment.
5 min to find the team
groups of two

10 min preparation
5 min each person to talk to the other, 30 to 45 min alltogether
how to present it to the others? each group 3 min, 30 min alltogether

discussion and resumé (moderation Karin)

Inhaltsverzeichnis

1 Materiathek Veranstaltung, notes
- 1.1 Flyer
2 Einladungstext
3 Projekttext

Materiathek Veranstaltung, notes

Workshop Überlegungen/Notizen
siehe vor allem Workshop_Überlegungen/Notizen#Dialog

Flyer

Finaler Flyer vom 07.01.20 (erstes gemeinsames Treffen 2020)

Einladungstext

Meshwork: Materials as processes, material processes, materials in process within artistic practices

Workshop, 17th January 2020
9:30–12:30 Session: Alliances.
13.30–16.30 Session: Interfaces

On the concept of meshwork, the research project MATERIATHEK – MATERIAL ARCHIVE initiates a transdisciplinary workshop to investigate material processes and their artistic applications. During the work session, we aim to articulate different material practices, to focus on Tim Ingold's concept of meshwork through case studies, and to recognize modes of action for material transformation. The anthropological term meshwork is understood as the dense tangle produced by involved beings in their becoming. In this process, they create weavings of entangled lines that grow, move, and interrelate. For our meeting, we will pay attention to these different roles and modes of alliances and junctions within artistic processes.

To guide the conversation, we propose the following questions: How do our different perspectives on the subject help us to expand the idea of the meshwork? How could the focus on knots and crossings of a meshwork help creating a different perception of artistic practices? Which tools are sufficiently flexible to establish a context, connections, and offer possibilities to expand the topic?

By introducing our perspectives in short dialogical presentations on materiality and their processes in the morning, we intend to discuss alliances of the meshwork in the arts and our modes of collaboration. In the afternoon, we will explore different ways to display material processes and how interfaces could help to exemplify these in an analogue-digital-networked environment.

MATERIATHEK – MATERIAL ARCHIVE is a research project by Prof. Dr. Lilian Haberer, Prof. Anke Eckardt, Karin Lingnau, Johannes Hoffmann, Agustina Andreoletti at the Academy of Media Arts Cologne (KHM, 2019).

Projekttext

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 materials research.

A research project by Prof. Dr. Lilian Haberer, Prof. Anke Eckardt, Karin Lingnau, Johannes Hoffmann, Agustina Andreoletti at the Academy of Media Arts Cologne (KHM, 2019)

@@ Zeile 2: / Zeile 2: @@
 <br>
+friday, 17th<br>
-==== Materiathek Veranstaltung ====
+* morning
-Januar 2020<br>
+* greeting (Karin)
-Meshwork. Material as process, material processes, material in process within artistic practice<br>
+* introduction round (all)
-Workshop<br>
+* aspects/terms (everyone alternating) <br>
-th or 10th of January 2020, 9.30–12.30, 13.30–16.30
+see also: [[Themen/Sätze_Sammlung_für_dialogische_Einleitung#aspects_.2F_terms]]
-<br>
+<br><br>
-<br>
-The Workshop focuses on how material processes in artistic practices create various modes of actions and '''furthermore''' on the modes of their '''inter'''connectedness. It reflects on how all involved agents in material transformations react and interact. Taking up Tim Ingold’s concept of meshwork, where all involved beings in their becoming create weavings of entangled lines which grow and move, as well as interrelations, and crossings, the attention lays on these differing roles and modes of alliances and interfaces within artistic processes. Within the workshop, we are looking into case studies and examples of these interactions or intra-actions of this connected meshwork.
+dialogues/alliances: max 15 min/<br>
-<br>
+guests:
+* Adele Orcajada (MaterialDriven, London);
+* Markus Joachim (ETH, Zürich)<br>
+* Jacqueline Hen/Karin Lingnau (process of translation/topic of material fiction); <br>
+* Anke Eckardt/Hans Bernhard (information and collecting; storage medium, agency); <br>
+* Lilian Haberer/Alex Grein (archives/artistic archives); <br>
+* Johannes mit?<br>
+Agustina: moderation/timing
+<br><br>
-In the morning session the focus '''lies''' on alliances, the ones of the meshwork itself but also in regard to the workshop participants. What are the starting points, the practices? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices?
+group discussion:
-How are we connected to the topic of material and processes in an artistic context? How do we associate with each other?
+following every second dialogue (also 15 min plus 5 min change of equipment)
 <br>
-In the afternoon session we '''explore''' interfaces within the meshwork in terms of content, but also structurally, how and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?
 <br>
-Frage: meeting statt workshop??<br>
-==== Thema ====
+equipment: white board/Tafel, projector
-Meshwork and Interfaces for Material Processes<br>
-===== Titel =====
-Meshwork<br>
-===== Untertitel =====
-material as process, material processes, material in process<br>
-* in an artistic context
 <br>
-===== Ausgangsfrage =====
-(siehe auch Beginn eines Dialoges unten)<br>
-Welche Frage, welchen Ausgangspunkt setzen wir uns und unseren Gästen zur Diskussion und als reichhaltige Basis für Gespräche, auch für interne KHM-Gäste<br>
-zwei-drei Sätze in Mail an Gäste und auch als Ausgangspunkt für interne Kommunikation und Allianzen<br><br>
-morning<br>
-# What are the starting points or the practices? How are we connected to the topic of material and processes in an artistic context? How do we associate with each other? How could the focus on knots and crossings of a meshwork could help creating a differentiated picture on artistic practices?
-afternoon<br>
-# How and in which way an interface could display material processes? What kind of interfaces and tools are open enough to establish context, connections and offer possibilities to expand the topic?<br>
 <br>
+noon:
-==== Zeitpunkt ====
+microlectures (13:30-14:45)
-. oder 10. Januar 2020<br>
+min explanation what is a microlecture? (Agustina)<br>
-<br>
+Exploring different ways to display material processes and how interfaces could help to exemplify these in an analogue-digital-networked environment.<br>
-===== Ablauf =====
+min to find the team <br>
-morgens 9:30-12:30<br>
+groups of two <br>
-ALLIANZEN<br>
-kurze Vorträge / Impulse<br>
-* externe Gäste (2-3)
-* Allianzen (oder einzeln) KHM-Interne (4-5)
 <br>
-immer zwei, dann kurze Fragenrunde, Anknüpfung<br>
+* 10 min preparation
+* 5 min each person to talk to the other, 30 to 45 min alltogether <br>
+* how to present it to the others? each group 3 min, 30 min alltogether
 <br>
-Diskussion<br>
+discussion and
+resumé (moderation Karin)
-nachmittags 13:30-16:30/17:00<br>
+=== Materiathek Veranstaltung, notes ===
-INTERFACE<br>
+[[Workshop Überlegungen/Notizen]]<br>
-Impuls zum Thema und Möglichkeiten<br>
+siehe vor allem [[Workshop_Überlegungen/Notizen#Dialog]]
-Diskussion
 <br>
+====Flyer====
 <br>
+Finaler Flyer vom 07.01.20 (erstes gemeinsames Treffen 2020)<br>
-A:
+[[Datei:meshwork_flyer_2.pdf|500px|thumb|left]]
-Soll es eine Moderation geben ?? Wenn ja, wer könnte das übernehmen?
-Und soll es ein Handout danach für die Beteiligten geben oder wäre dies evtl. in Form der kleinen Publikation, die wir potentiell angedacht haben, denkbar?
-==== Gäste ====
+==Einladungstext==
-===== mögliche externe Gäste =====
-Markus Joachim<br>
-ETH Zürich<br>
 <br>
-Adele Orcajada<br>
-MaterialDriven <br>
+'''Meshwork: Materials as processes, material processes, materials in process within artistic practices'''<br>
-<br>
-Anne-Sophie Lehmann (?)
-Chair of Modern Contemporary Art,
-Department of History of Art Architecture, Groningen<br>
-weitere Person aus Holland bzw. aus Deutschland (material labs??)
-<br>
-Agustina Andreoletti als Gast bzw. als Mitwirkende (fände ich besser)<br>
-<br>
-Karin Lehmann<br>
-Sammlungsverantwortliche Fachbereich Gestaltung und Kunst des Materialarchivs der Hochschule der Künste Bern
 <br>
+Workshop, 17th January 2020 <br>
+:30–12:30 Session: Alliances. <br>
+.30–16.30 Session: Interfaces<br>
 <br>
-===== mögliche interne Gäste =====
+On the concept of meshwork, the research project MATERIATHEK – MATERIAL ARCHIVE initiates a transdisciplinary workshop to investigate material processes and their artistic applications. During the work session, we aim to articulate different material practices, to focus on Tim Ingold's concept of meshwork through case studies, and to recognize modes of action for material transformation. The anthropological term meshwork is understood as the dense tangle produced by involved beings in their becoming. In this process, they create weavings of entangled lines that grow, move, and interrelate. For our meeting, we will pay attention to these different roles and modes of alliances and junctions within artistic processes.
-* Georg Trogemann (Algorithmus und Material)
+<br><br>
-* hans w. koch (Sound als Material)
-* Verena Friedrich (Pflanzen als Material, Bio-Art)
-* Jacqueline Hen (Material und Gestaltung, Licht?)
-* Liz Haas, Hans Bernhard (Materialisierungen im Netz)
-* Axel Autschbach (Werkstatt und Materialverwendungen)
-* Birgit Trogemann (Bibliothek und Materialarchiv, Sammlungsaspekt)
-* Alex Grein (Photographie als Material)
-* Ute Hörner, Mathias Antlfinger (interspecies perspectives)
-....
-<br>
-<br>
-==== Dialog ====
+To guide the conversation, we propose the following questions: How do our different perspectives on the subject help us to expand the idea of the meshwork? How could the focus on knots and crossings of a meshwork help creating a different perception of artistic practices? Which tools are sufficiently flexible to establish a context, connections, and offer possibilities to expand the topic?
-Thema Meshwork / Prozesse / Archivierung<br>
+<br><br>
-<br>
+By introducing our perspectives in short dialogical presentations on materiality and their processes in the morning, we intend to discuss alliances of the meshwork in the arts and our modes of collaboration. In the afternoon, we will explore different ways to display material processes and how interfaces could help to exemplify these in an analogue-digital-networked environment.
-Bezugnahme auf die Mail vom 30.09.2019<br>
+<br><br><br>
-L: Verbindung von Vermittlung und Materialität (Arjun Appadurai im Anschluss an diverse neue Materialansätze formuliert)<br>
-K: Mediale Aspekte, Unterscheidung Medium und Material. Welchen Stellenwert nimmt die Sammlung in Bezug auf Materialien ein? Welche Medialitäten sollte eine Sammlung erfüllen, die den unterschiedlichsten Nutzergruppen zugänglich wird? Welche Aspekte sind an einer Kunsthochschule relevant?<br>
+MATERIATHEK – MATERIAL ARCHIVE is a research project by Prof. Dr. Lilian Haberer, Prof. Anke Eckardt, Karin Lingnau, Johannes Hoffmann, Agustina Andreoletti at the Academy of Media Arts Cologne (KHM, 2019).
-Welche Werkzeuge und Tools sind notwendig, möglicherweise experimentell, aber auch den künstlerischen Prozess fördernd.... nicht unbedingt als bibliothekarische Herangehensweise, sondern eher ungeordnet, mit eigener Systematik, die aus dem Inhaltlichen und Assoziativen stammt.
-<br>
-L: Weiterer Aspekt (das basiert auf dem Ansatz der Material Agency): dass in den Prozessen der Fertigung, das Wissen und die Kenntnis eine Größe ist, die (zumindest bei Formen, in der noch die Arbeit mit der Hand mit einbezogen ist), die eine intuitive Intentionalität erzeugt, in der die Person nicht nur bewusst formt, sondern das Produkt/Artefakt etc. in einem zeitlichen Prozess aus einer Interaktion mit dem Material entsteht.
-A: siehe auch "embodied knowledge"/"embodied sonic interaction" Prof. Atau Tanaka (Goldsmiths): Embodied knowledge is a type of knowledge where the body knows how to act (e.g., how to touch type, how to ride a bicycle, etc.). One of the important features of this knowledge is that the body, not the mind, is the knowing subject. Procedures for performance are embodied such that the body knows how to act in a given situation. Embodied knowledge is not confined only to motor skills, but is concerned with the variety of human experiences, all of which share the property of 'doing without representing'. There is no need for representation because there exists a pre-reflective correspondence between body and world. Through examining Merleau-Ponty's notion of body schema, I try to clarify that embodied knowledge is beyond the Cartesian mind-body dualism and requires an embodied view of mind. The body schema tacitly coordinates the movements of body parts into a unified action that corresponds to a given situation. It is experienced as a prereflective correspondence between body and world, without being mediated by mental representations. This theoretical foundation leads us to a further exploration of embodied knowledge in three directions: 1) skill acquisition, 2) sense of space and place, 3) social understanding. Ist ein verkörperlichtes, nicht repräsentatives Wissen / nicht reflektierte Korrespondenz mit dem Material relevant für die Untersuchungen?
-K: Zeitlichkeit der Prozesse unter Berücksichtigung der Person mit dem Material. Inwieweit ist die Person relevant? Welche Prozesse beinhaltet dieser Gedanke? Sind es auch technische Prozesse, inwieweit sind Maschinen/Werkzeuge/Tools miteinbezogen? Könnte dies eine Differenzierung für unser Thema ermöglichen?
+----------------------------------------------<br>
-<br>
-L: Dies ist der Link, um einerseits zwar die Prozesse in der Herstellung zu beobachten, dabei aber die menschlichen Akteur*innen nicht zu sehr zu privilegieren, da sie ja nur ein Teil eines komplexen Gefüges sind, dass im Moment des Materialprozesses zusammenkommt, dies wäre dann auch anschlussfähig an technologische und algorithmische Materialprozesse.
+==Projekttext==
 <br>
-K: <br>
+'''Material perception in artistic processes. Materiathek and Material archive in the fringes of the arts.'''<br>
-(bezugnehmend auch auf meine Mail vom 26.09., siehe unten)<br>
-Betrachten wir die Prozesse vorrangig vor den Materialien? Ist dadurch die Anknüpfung an die unterschiedlichen Stufen von Materialität gegeben?
-Für mich drängt sich immer mehr die Substanz und die Stofflichkeit von Material hervor. Das Ausgangsmaterial, von dem gesprochen wird, als nicht geformtes, sondern eher "zur-Verfügung-stellendes" Material.
 <br>
+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.<br>
 <br>
+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 materials research.<br>
-Ausserdem nochmal bezugnehmend auf meine Mail vom 26.09.2019<br>
-K:
-* How can we collect material processes and for whom?
-* Differences between collecting materials — collecting material processes
-* — stages — observations — orientations
-A:
-* die Untersuchung von Verfahren anstatt von Werkzeugen (welche nur eindeutige Aufgaben erfüllen können und in ihrer Vielzahl Teil von Verfahren sind)
-* Verfahren auf englisch: the procedure, the process, the method
-K:
-* Goal: to connect different actors, to exchange in methods, different accentuations
-* To find out which tools and systems / systemizations are existing, are already used, tried out or which could be developed, would be interesting for different actors in collecting materials and getting a kind of overview of the possibilities of material and material processes.
-* (Always in mind different approaches and backgrounds, what are the similitarities for our known contacts, what kind of exchange could be interesting for them, for us? ...)
 <br>
+A research project by Prof. Dr. Lilian Haberer, Prof. Anke Eckardt, Karin Lingnau, Johannes Hoffmann, Agustina Andreoletti at the Academy of Media Arts Cologne (KHM, 2019)
-* Questions of future collaborations (later...)
-* What kind of collection could be interesting for artists / artistic practices?
 <br>
-Above all / beginning with:
-* Definitions of (material) processes and their descriptions
-* Definining them for us and our practices, defining them for artistic practices in general, also in context of medial and digital practices.
-Another approach / another stream of questions
-* what about the aspect of dealing with these medial and digital artistic practices / methods
-* what are these
-* how connects this to the aspect of collecting / archiving / defining processes<br>
 <br>
-Trying out different approaches to material as process, processes of material, material in process<br>
-* how to experience and establish a connection to material
-* sensual, phenomenological, interpretative, affected, practical, performative
-* aspects of context, subject, object, time, space, technology
-A:
+----------------------------------------------
-* mir erscheint das Potential der Nachmittagsdebatte des Workshops zum Thema Interfaces stark abhängig von der Ausrichtung und der Qualität des Impulses, den man zum Thema Interfaces dieser Debatte konkret voranstellt (siehe Tagesablauf)
-* was könnte ein guter Impuls zu Interfaces sein? mir fallen als Beispiele bisher ein: das neue digitale Interface des Materialverbundes in der Schweiz,
-  HMI (Beispiele von Human Machine Interfaces)