Masterstudiengang Spiel und Objekt

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PIFcamp 2021

This summer a small group of Spiel und Object humans headed to PIFcamp in order to be outdoors, and make things together. We arrived in a shower and drove through a rainshower as we left, but the whole week there was pure hot sun and cold soca river water.
soca river
This post is a short summary of what we got up to. You can read much more about our adventures on the PIFcamp website (https://pif.camp) and see lots of photos taken by the lovely Photos by Katja Goljat here.
the S&&O crew
LEONI (https://leonivoegelin.com/) came to PIFcamp all the way from Swizerland! 9 hours of train-ride, followed by 2hours driving up into the alps. She got involved in making hand-crank music which lead to a collaboration with Rodolfo to give life to this struggling robot, who does not want to  two things: 1) a struggling robot and 2) a post-apocalypic performance.
struggling robot – Lenoi and Rodolfo
hand-crank synth / post-apocalypic performance – Lenoi and Rodolfo
RODOLFO (https://rodolfoacostacastro.github.io/) came by plane and bus. He didn’t bring any of his worms with him, but he did pack some homemade worm PCBs so that he could hold a workshop in which participants built circuits to amplify the signal from a piezo element in order to potentially be able to listen to worms.
worm circuit workshop
JANNE (https://www.jannenorakummer.de/) travelled from vienna by train and bus where she was doing a month-long dance residency. She brought with her some choreography, getting people to move their bodies in the floodlights of the basketball court.
dancing together
JULIAN (https://julianjungel.de/) arrived by train from berlin and brought with him a whole box full of synth stuff. He got sucked right into synth-land and we mostly saw him soldering away at his Octo-Synth board. Occasionally chilling on a chair by the wall, making some music.
soldering and relaxing
HANNAH (https://www.plusea.at/) came by car with family. I brought with me the desire to tattoo people in order to collect tales (https://pif.camp/tattoostales-from-the-making/) – some of the less told stories about processes of making. I made the offer to all PIFcamp participants that I would temporary tattoo them if they tell me about a project. I got to tattoo eight people, and collect eight stories which are now circling in my head, and will hopefully make their way out as a lullaby for baby Bela. Here you can see the tattoos https://www.plusea.at/?p=7063
tattooing under the tree
At camp we also met another other Spiel und Object person, MóNICA (https://spielundobjekt.de/personen-2/). She is a our visiting lecturerer who teachers Intro to Arduino and Physical Computing.
robots robots and chickens?

Ausschreibung für eine Studiengangsverwaltung (m/w/d)

An der Hochschule für Schauspielkunst Ernst Busch im Studiengang Spiel und Objekt ist zum nächstmöglichen Zeitpunkt folgendeTeilzeitstelle (0,5) zu besetzen:

Beschäftigte/Beschäftigter (m/w/d) Studiengangsverwaltung

Entgeltgruppe E 9a TV-L Berliner HochschulenKennziffer: Abt. P-V/2021

Die Stelle ist für die Dauer von einem Jahr befristet.

Weitere Informationen und den vollständigen Ausschreibungstext gibt es hier.

Bewerbungsschluss ist der 22.04.2021.

Let’s Play

Sarah Fartuun Heinze, Christiane Schwinge und Friedrich Kirschner organisieren die Let’s Play Edition der Jahrestagung 2021 der Dramaturgischen Gesellschaft. Und Studierende des Masterstudiengangs Spiel&&Objekt berrichten aus dem Videospiel Stellaris 🙂

link: http://konferenz-2021.dramaturgische-gesellschaft.de/?block=2

Im Bild (vlnr): Sarah Fartuun Heinze, Christopher Weymann und Ulla Heinrich spielen gemeinsam “Octodad”

LET’S PLAY findet als öffentliche Veranstaltung im Rahmen der Jahreskonferenz 2021 „DiG IT ALL“ der Dramaturgischen Gesellschaft auf Einladung der Akademie für Theater und Digitalität /Theater Dortmund statt. #2 LET’S PLAY wird in Kooperation mit dem Studiengang Spiel und Objekt der Hochschule für Schauspielkunst „Ernst Busch“ durchgeführt.

Digital Arts and Science 24.-26. März 2021

Vom 24.-26. März 2021 präsentieren die Wissenschaftler*innen und Künstler*innen des Graduiertenprogramms DiGiTal ihre Projekte und Werke beim dreitägigen digitalen Event Digital Arts and Science. Interdisziplinäre Digitalisierungsforschung. Wir laden Sie herzlich dazu ein, die Vielfalt und Bandbreite der inter- und transdisziplinären Forschungsprojekte und künstlerischen Werke sowie die Wissenschaftler*innen und Künstler*innen kennenzulernen.

Die Teilnahme an der Veranstaltung ist kostenlos, um Registrierung wird hier gebeten.
Weiterführende Informationen finden sich unter digital2021.org 

Janne Nora Kummer, künstlerische Mitarbeiterin im Masterstudiengang Spiel&&Objekt, wird im Cluster (Post)Digital Narration and Artifical Communication, am Donnerstag den 25.03.2021, von 15:30Uhr – 17:30 Uhr vortragen und diskutieren. 

Ihr aktueller Schwerpunkt liegt in der Vernetzung von organischen Körpern und digitalen Medien mit Hilfe von Sensoren und Aktuatoren, um so Interaktionen und sinnlichen Erfahrungen zu produzieren.

ART&&CODE

ART&&CODE is a festival where people who work creatively with digital technologies share their work and ideas. The festival has happened 4 times over the last 12 years and will be happening again this week, thursday – sunday January 14-16 2021.

On friday at 17:00, I (hannah perner-wilson) will be presenting, and in my 20minutes hope to share some tips on how to sustain a long-term relationship and stay in love with technology. i’ve been working with etextiles for 15years and most recently joined the S&&O master program with an interest in exploring the use of soft and wearable technologies for storytelling in playful, participatory and performative settings.

screenshot of the website

work-in-process: the end

process never ends, but this process now comes to a point from which to reflect briefly where it went.
over the last six weeks i had as many very informative and also simply very nice conversations with our first round of S&&O masters students.
here direct links to the individual conversations:

leading these conversations was a learning-experience for me, in how to ask questions that get at aspects of process without getting distracted by content. to ask: HOW are you working? and not, WHAT are you working on?

what is so fascinating about process? it is HOW we spend our time. since time is limited, HOW we choose to spend it and WHAT we spend it with/on become an incredibly valuable currencies. while i believe that the HOW and the WHAT are intricately connected, and i’m not totally sure it is possible or good to tease out the HOW without the WHAT…. i did so in order to draw attention to the means/methods/techniques of technology. I tried to ask about the HOW without the WHAT.
looking back, i think i let the conversations meander somewhere in and out of process-talk and there were some lovely things said along the way.

FURTHER READINGS

if you are nerdy about process like i am, you might enjoy some of these things.

Around here this is how we do things…..”
in the social sciences technology is a way of doing things! Ursula Franklin gets at this really well in the first part of “The real world of technology” she talks of “technology as practice”.
https://archive.org/details/the-real-world-of-technology/

the magic show
in this episode ira glass interviews the magician teller about his trick, and captures what i had in mind when i set out to talk with people about their project processes….. to get them to reveal HOW they make…. and how ideas and tricks and human relationships evolve through process.
https://www.thisamericanlife.org/619/the-magic-show

diy IS entertainment
simone giertz makes things and makes the process the point.
https://www.youtube.com/c/simonegiertz/featured

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failure IS the point
this exhibition drew attention to failure as a feature of making. is failure undesirable, or is it part of any successful undertaking?
http://trials-and-errors.com/carpet_garden

live studio
bart hess is an artist who works with showing (off) behind the scenes processes and involving audiences in making work….
https://www.showstudio.com/projects/punk_bart_hess_and_ruth_hogben/ruth_hogben_and_bart_hess_livestudio?autoplay=1

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critical technical practice
Philip E. Agre wrote a lot and i found a lovely reference in one of his writings (https://pages.gseis.ucla.edu/faculty/agre/)… i think it was in this one (https://pages.gseis.ucla.edu/faculty/agre/critical.html)…. to a text about process….. i need to find it again and post it here!
it might be this one:
Living thinkwork by Mike Hales – “This unique ‘analytical autobiography’ is a travelogue of journeys in what the author calls class geography, of academic radicalism and professional employment in industry in the late 1970s: life in the Rationality Factory.”
https://www.researchgate.net/publication/310937194_Living_thinkwork_-_Prologue_introduction

following the material
tim ingold also writes a lot about making and a style of craft process that positions the maker as a follower. this short eassay is easy to read and summarizes his book titled “making”:
http://sed.ucsd.edu/files/2014/05/Ingold-2009-Textility-of-making.pdf

microphenomenology is a new scientific discipline that enables us to explore our lived experience very finely: what’s happening when an idea comes to us?
https://www.microphenomenology.com/home

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work-in-process: pretty sweaty

Dear Christian. before corona, you had built a geodesic dome. with the corona measures, you had the idea to convert it into a one-person sauna. so you scaled down your design, ordered a small oven, made a tarp… and then went inside to sweat. how was the visit to your self-built sauna?

The sixth, and final, conversation in a series of work-in-process conversations with S&&O masters with Christian Römer who has been documenting and sweating in his one-person sauna….. Our conversation played out slowly via email over the course of some weeks.

C: Quite sweaty. The heavy Cottoncloth insulates and permeates at the same time. Good climate. The oven is powerful enough for the small space. Combined with some water on the rocks each 2-3 minutes it creates a fresh heat with enough oxygen. If you are outside in the daytime, you can see some light through the cloth, but otherwise it is blind on both sides. So you are really concentrated on yourself and the experience. The natural materials and the construction could as well be used for a proper sweat hut, and yes: one impulse to do the piece was Corona-Time, as no public Sauna was open for some months. I wanted to contest that situation with a positive possibility.

And since then you have, as far as i know, had the opportunity to exhibit the sauna…. but unfortunately you’re not able to receive visitors due to corona. How has the virus inspired and impacted your work?

The virus was the reason to do the work after all. In March I met a friend who wanted to tear down an old geodesic dome, which he had used as a stage with a roof, two thirds of a former bigger Dome. It was falling apart and he asked me if I could tear it down, as the weather had already damaged some of the wood. At that moment I saw the possibility to make a smaller dome from it. The website www.domerama.com offers calculators and surprise: the leftover pieces and the still existing screws would match exactly a 2 V – Dome, if changes in length and new holes would work out.

So the first lockdown was filled with activity in a backyard in Prenzlauer Berg. Bending the wood, softening with sandpaper, drilling new holes and cutting and sawing in a hackspace at night.

As I started documenting the process on facebook, People began to ask which material I used or how to do the ventilation. It became this open process by putting photos and some comment and reacting to or incoroporating the comments of the others. The result was the Beta-Version with a plastic sheet around it, fixed by orange string. That was truly corona sauna for one.

Can you tell us briefly what happened then?

This Beta – Version we discussed with friends and I offered them to put the sauna into their garden, so they could use it. After their first sweat they said that its getting smelly, probably because of the plastic sheet. So we decided to design a Half-Ball from cloth to cover the construction instead of the plastic. I found out from my FB – Sauna-experts that Nessel(Baumwollleinstoff) is a very good material for that matter and found exactly the right Baumwollleinstoff at a Cloth – Outlet in Mahlsdorf.

After a longer talk with Friedrich, when it was possible to meet again outside in summer, we discussed the possible masterproject and he gave a hint: why not stick to what had been done already? And go from there. So for the June 2020 -“Vorspiel” I built a basic version of the project, using my bigger dome as well, which I had built end of 2cd semester in Ingos Werkstatt. And a classic Gardena-gardenshower, one emaille-waterbucket and a wooden spoon.

In April I had put in a Concept to Schaubude and the masterproject | installation was supposed to be part of the festival “Theater der Dinge” and I had already asked friends to help for the build-Up in Ballhaus Ost, 3rd floor studio space. This space was quite small in regard to the objects and my ideas were dealing with that. How to enter into a somehow claustrophobic space, crowded by the big objects, makes one feel small. This fell apart unfortunatelyon short notice because of Corona.

In a week i rethought the project for the UNTEN –Space. This was a very productive phase, as it meant cutting and rearranging of material in order to reduce each station to its core and receive a meaningful composition of form, content and possible interaction.

After visiting the Generalprobe of your piece < Attention Aerosoles! > 10 days ago, I can confirm: visiting the one-person sauna is a wonderfully sweaty experience. i experienced it as a very strong bodily sensation that made me feel very present in the small dome. i was in fact not alone, but with my 4month old baby and to a large degree i experienced your work through his eyes, as i navigated the stations with him in my arms and he was very focussed.

You led me through the work by telling me where to go and what i could do at each station, and mentioned that you did this because the cards you had initially intended did not work as planned. For the premiere of the piece the next evening, did you devise a different way of leading people through the work? And if so, how did this work out?

Wonderful that you visited with your son, the youngest audience member ever. I started on the Tutorial/ Manual thinking too late. The cards seemed a simple enough idea that turned out a desaster, when Ingo Mewes came as first visitor. Too dark, too complicated, he was concentrated on the cards instead of the interactive possibilities. This was my responsibility of course. So I changed on the general reherseal to a personal guide modus in an improvisation. For the next day I thought of a more reduced and non-invasive way to point to the offerings and opportunities and tried to perfect that with each new person coming through.

As the Schaubude wants to put some of the one-person-installations in February in a Mini-Festival this can be further worked out. The challenge is always to be not present at all in your own installation physically. Or a specific Character could be worked out, including costume. Or an Audio Version to be loaded on the mobile or via headphones. As well I want to go further on the interactivity and the narration.

In your answer to my last question, you mentioned how you used Facebook as a platform to share your process of building the dome and that this live documentation provided content for discussion among your friends (and public?). did you see this process as part of the “performance”, as part of the work?

The actual outside input was mostly on technical issues in regard to the Sauna-construction. Actually quite specific and interesting details and tips in regard to material and crafting. I am not shure how deep a FB-Friends crowd would follow into the artistic thinking and be willing to contribute. But then I did not try – and simply put forward photos and some explanations and thoughts on the operative process. It definitely was good for myself to document in a public space – and be reminded of the steps the process took.

Looking back there were ideas already in May 2019 at the first „Vorspiel“, then in Essen another step at „Next Level-Festival“, as well at the speculative objects – Class. Finally this came all together – and i could always go back in the timeline and remind myself of the stations and the decisions. As well the material (Wood, Cloth, Liquid, UV-light, Stones) was always coming back in slightly different forms and contexts. It was the ever changing mix of found, designed and loaned parts, that kept the process dynamic.

Documentation is such a good tool for “looking back” and seeing things with a time-line perspective. i believe one can learn some useful things about oneself and one’s process from seeing how one works over time. being able to trace where our ideas come from, can be humbling. to know that they can be embedded in materials! and how almost always we have been working with them for much longer than we think, when we (re-)discover them anew.

work-in-process: a new appreciation

The fifth in a series of work-in-process conversations with S&&O masters Fabian Raith who has created an area monument to what we now miss.

Our conversation played out on Discord over the course of some weeks. The conversation bellow is slightly re-arranged to create a more readable flow.

HPW_ so fabian, i know absolutely nothing about your current project, and want to ask you all about it it. but before getting into the details of the project process itself, could you reflect on what lead you to it? what circumstances, decisions, coincidences, preferences lead you to work on what you are working on now? and how does it connect (thematically, technically, methodologically….) to your past works?

FR_ Ok, so I had the feeling, that through the whole Coco Jambo-Virus, there was a new appreciation of the day to day life: Supermarket cashiers became heroes and were wildly appreciated. Nurses and doctors, especially the ones explaining the virus became public figures. They were sort of the heroes of the day. There was a feeling of togetherness, as we all were suddenly under the same risk of getting that shitty virus. That barely happens. And after i while i thought, that we will somehow need to remember this time publicly and came up with the idea of creating a statue or a flächendenkmal somewhere outside and compare it with other statues. And that is, what I am in the process of doing right now.
It connects to past work, as it is also uses AR. Thematically, it thinks about singularity and things, we all have in common. I am generally wondering, where the social common ground is to be found, as I am confused by the radicalization of society we are all perceiving right now.

HPW_ i had to look up the term “Flächendenkmal” (engl. area monument) and was surprised to find there are different classes of monument and area monument describes one made up of multiple objects, and also includes “Kulturlandschaft” (engl. cultural landscape).
(https://www.denkmalsanierung.de/informationen/verschiedene_denkmalarten/)

i like your wording “to remember this time publicly”, it feels very open ended. especially in contrast to my associations with the artifact of a monument, which conjures up an image of something sculptural, material, solid…. with a permanence that also invites decay (the degrading, forgetting with time…).

so you are creating an augmented (AR) monument to the corona crisis? how are you going about creating a collective remembrance of our current situation from the midst of the situation? and is the current debate on the removal and destruction of colonial monuments affecting how you are thinking about monuments?

FR_ Well, it’s not really about the corona crisis, but mostly about the connections to one another and things we miss since the crisis, that we need so desperately, which became obvious through this crisis.

The current debate is of course a huge topic, especially around the area of the Thälmann-Denkmal. The whole area and the park surrounding it is so much a product of a state, the GDR, which reminenscenes are often evicted, commented or simply deleted from the public eye, that I think it is a good area to reflect on how we want to deal with those sort of monuments. I also think, that the German debate on post-colonial issues is a very imported one. The german migration history and its stolen artifacts for example are very rarely connected. I also read some Olúfẹ́mi O. Táíwò, who brought a new perspective on this whole colonial debate to me, saying that, with the exception of south africa, no other country was colonised for longer than 100 years and the whole debate shifts the narrative to a very strong focus on colonisation, instead of shifting it on what was lost through colonialisation. Which is of course not to suggest, that colonial monuments are supposed to remain.

HPW_ i’d like to ask again if you could tell me a bit more about your process of creating a monument to what we have to come to miss, to value about our lives, now that corona measures have changed many of our daily lives and interfered with our common ground(s).
i’d also like to ask you more about the monument itself. i know you are working with AR technology, but have no idea what to imagine. and maybe you want to keep it this way, so feel free to remain vague in your answer if you like:-)

the last days i’ve had to think about your project, the idea of creating a monument to the things we miss when confronted with change. i’m really curious to hear more about the “area monument” you are/have built, but just as curious to know more about your process of creation. in a very literal sense, like how did you start….. what methods, tools, technologies did you use to create…..

there was just a nice beitrag about denkmäler im deutschlandfunk:
https://www.deutschlandfunk.de/bildersturm-und-gerechtigkeit-warum-unsere-denkmaeler-uns.1184.de.html?dram:article_id=486082

FR_ Dear Hannah, So concerning the last question: I would very much like to expand the Thälmann-Park in a literal sense. The park was, with all the trees and buildings in it, as a park to live in, with one tree for each inhabitant. That sounded already like a wonderful story to me.
Before the end of august, i tended to make two projects, one for the Studiengang and one for Schaubude- afterwards i decided to ditch one. It was just too much.
And decided to go with the Schaubude one. The process for that project is sort of interesting, as it expanded just as i thought about it longer. Tim Sandweg, program director of Schaubude, came to us in June and asked, whether we were interested i making a project there about “Künstliche Körper”- which was my starting point and i immediatly thought of statues. What do they look like (- which was not too interesting for me), what do they represent (very interesting) and can they actually refer to some common ground- the thing we were talking about a lot during the corona crisis.
Then i asked people i wanted to work with and started just writing down my thoughts about it.
So, the thing structuring the whole work is actually a text I wrote together with my fantastic dramaturgue, Sofie who you know from speculative objekte.
So, what came out, is an AR Walk, that includes an own sculpture garden of destroyed, replaced, restored, changed and commented statues, around statues exitisting in Thälmannpark covering the very idea of: What is it, that actually brings us together. And i try to open that question up to the audience.
The last few days were actually very much focussed on the recording of the text, which is now finished and the first tests are running tomorrow- which is a very exciting moment for me.

HPW_ ah! that sounds exciting.
i bike through the thälmann park on my way to work almost daily. it stands out to me as a space where residence, leisure and the city come together… with the huge ernst thälmann monument half hidden at one edge, surrounded by trees and a big mostly empty square, and busy road. i’ve observed people using it as a backdrop for fashion photos, dance videos, bmx tricks, and every so often it is partly spraypainted in new colours. for the fact that it appears to massive and monumental, it is somehow situated, used and experienced so individually. i appreciate this about it.
and i hadn’t noticed there were other statues in the park!
the story of one tree per inhabitant is poetic, has it made it’s way into your work in some form?
is the monument/experience you have created intended for a specific audience? i wonder what it is like for the people who live there?

so my last reply to you was not really a good next question, sorry. was more like a stream of thought triggered by what you wrote. here my attempt at a better set of questions regarding “process” in response to what you said!

could you tell me more about how you and sofie collaborated in the writing process? did you sit down together, walk together, edit a shared document? simultaneously, taking turns? and what made working with sofie so fantastic?
and of course now i’m curious to know what it is “that brings us together”, but this seems well kept as the motivation to get out and experience your piece. but maybe you could tell me a bit more about how you open up the question to the audience?
and then, i think it is impossible to talk about process now without also recognising the greater circumstances under which the process in playing out. just this past week the german government a lock-down(-light) regulations that will come into effect coming monday (tomorrow). how has it been to work amid the measures we are taking to slow the spread of covid? and does the lock-down interfere with your plan to show/share your work?

FR_ Sorry, I was just very busy in the last days due to all these changes. Actually, it made the way into the work very specifically: The plan was to have digital expansion of the park, so there were more trees planted with each visitor, each tree telling the story through audio, the former visitors left there. I am now replacing it with pre-recorded messages. Which is a little sad.
It’s not really meant for a specific audience. I was aiming rather widely and did not really think in audience. I don’t know, it’s just not how i work.
The writing process itself was mostly done by me. I wrote the whole shabangsl and then Sofie looked over it, stated weaknesses or point that stood out for her.
We then took a walk through the area, read the text out loud where you are hearing it and re-furbished it afterwards. The text was also written in two stages, because i actually planned on having it way shorter but we realized that there was an important part missing.
and then, i think it is impossible to talk about process now without also recognising the greater circumstances under which the process in playing out. just this past week the german government a lock-down(-light) regulations that will come into effect coming monday (tomorrow). how has it been to work amid the measures we are taking to slow the spread of covid? and does the lock-down interfere with your plan to show/share your work?
I think, I am one of the lucky ones. I just decided immediatly, that i wanna show it no matter what. There are a few changes to be made. – the former messages for example will be pre-recorded (which is again- very sad), i will establish a website and a messenger-group for all the people who want to send in their messages. There is no possibility now to rent devices, so people can pick up small packages at the Schaubude, containing physical material for the walk and use their own devices to take the walk. It is sort of the same experience, but with some changes. But for me it was really, really important to give people something they can enjoy as well now, during lockdown, and not wait for another time. Also because I want to finish the work with the feeling of being okay and done with it. Some sort of closure, because this constant delay of: It will happen sometime is also very, very stressful.

HPW_ yes, the stress of the unknown. of living with the constant possibility that things will be different tomorrow. wanting to plan…. trying to plan for multiple scenarios.
it reminds me of Anna Tsing ‘s writing in Mushrooms at the end of the World where she talks of precarity as the condition of our times. and learning to live with uncertainty as the new skillset required of us/our society. while her writing this predates our covid pandemic, and was written in response to capitalist/progressive frameworks that shape our lives, it applies so especially well to the current pandemic.
(https://journal.culanth.org/index.php/ca/precarity-commentary-by-anne-allison)

do you think part of what drew you to the idea of working with “monuments” has something to do with their permanence as a possible tool for dealing with constant change and instability?

FR_ or that last question: No, not really. It is a very interesting thought, though and I am glad you brought it up, as it is a topic, that is often touched within the walk now, but not as clear as you just made it.

I think what is also interesting about those statues is that they also transport values of a certain age and that we try to also appreciate those old values through the building of statues.

Impressum