Masterstudiengang Spiel und Objekt

hier das Neue


Hello Next Level Festival 2021

We are happy to participate at this year’s Next Level Festival at Zeche Zollverein in Essen.

We are showing the works “Wir haben Fragen” by Leonie Bramberger and Maria Huber, as well as “Radical Acts of Vulnerability” from Ella Estrella Tischa Rätzer, Lena Böckmann, Rodolfo Acosta Castro und Zoe Lohmann.

Come find us in Halle 12 and Halle 6!

A person holding a tablet and tapping on it. On screen is a three dimensional map

Wir haben Fragen – AR Walk by Leonie Bramberger and Maria Huber

A view of the installation depicting two geodesic domes that the audience can move into and interact with

Radical Acts of Vulnerability – Ella Estrella Tischa Rätzer, Lena Böckmann, Rodolfo Acosta Castro, Zoe Lohmann

This week: Experiments in Hybrid Theater Spaces

Image (c)AnnaKpok

This coming Thursday and Friday we will be testing experimental interactions and practices for hybrid theater spaces as part of the Stage Test at the Festival Theater der Dinge.

Showings will be Thursday and Friday from 15:00 either online (registration needed) or at the remote festival location at Schnellerstrasse 104 (Festival rules and Regulations apply for in-person events).

All info can be found on the festival website.

Also, here’s a writeup of the first Stagetest conducted over the summer as a test run for the concept.

Bewerbungszeitraum für 3. Jahrgang WS 22/23

Die Termine und Fristen für die Bewerbungen zum kommenden Jahrgang (Studienbeginn Wintersemester 22/23) sind festgelegt worden:

Montag, 14.03.22 Beginn Bewerbungszeitraum

Montag, 16.05.22 – 11:00 Uhr, Ende Bewerbungszeitraum

Montag, 25.05.22 Einladung zur Zulassungsprüfung

Samstag 11.06.22 und Sonntag 12.06.22 Zulassungsprüfung

Weitere Informationen zum Bewerbungsverfahren sind auf zu finden.


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 🙂


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 

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 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.


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”.

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.

diy IS entertainment
simone giertz makes things and makes the process the point.


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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?

live studio
bart hess is an artist who works with showing (off) behind the scenes processes and involving audiences in making work….


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critical technical practice
Philip E. Agre wrote a lot and i found a lovely reference in one of his writings (… i think it was in this one (…. 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.”

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”:

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?


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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 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.