Time itself is not visually graspable. Images and models are needed for its visualization. Thus, visual simulations of dynamic processes and the design of time-based media affect our perception and way of life.
The constitutive visual representations of time are bound between the media technological conditions they are subject to and the singular processes of their design. They can define a certain time-knowledge and create models like linearity, interruption, seriality, simultaneousness, duration or rhythm, or even topological-temporal systems. Historically and systematically, this publication addresses the visually enabled modes of time that are constituted by image technologies in design, art, and the sciences.
Ghosts of Transparency
Applied Virtuality Book Series (Vol. 13)
In this book, the editors focus on architecture and communication from various different perspectives – taking into account that the term “architecture” is used for buildings as well as in the context of computer software. Data and software also impact on our cities; raw data, however, do not convey any information – in order to generate information and communication they have to be organized and must make sense to the reader.
The contributions avoid clear separation of the various communication spheres of their disciplines. Instead, they use the wide range of approaches to explore meanings – an ambitious aim that leaves the destination wide open; the reader is invited to share in this adventure.
Available as Open Access.
Artwork as Institution. Stephen Willats
The publication Artwork as Institution. Stephen Willats centers on British artist Stephen Willats’ use of Modelling Books as tools to engage with people, and to create social spaces for relation and interaction in neighborhoods, museums, and bookshops since the 1970s. These tools help to reflect specific situations and develop ideas, models of how to approach them and move within them. The artworks enact a re-constitution, a transformation of the self and of situations. They provide a platform for an investigation of hidden, normalizing infrastructures, constraints, and limitations as well as for the possibility of the creation of alternatives. At the same time, through this collaborative process, a social space is formed, a communications network is created, by and for those who become involved. It is a process of instituting, a process where the artwork becomes its own institution.
Artwork as an Institution. Stephen Willats
Brand-New-Life. Magazine for art criticism, 2019
Contributions by Jamie Allen, Bernhard Garnicnig, Elsa Himmer, Lucie Kolb, and Stephen Willats
This edited volume takes on discussions of method that gain center stage in light of the current interest in artistic and design research, where metaphors like messiness, heterogeneous mixture or non-linearity are employed frequently. On the one hand, these discourses seem to emphasize certain characteristics and »myths« of creative processes, while on the other hand, create affinities to scientific traditions, which for some time now describe their own practices as irregular and »wild« processes. Both perspectives share the understanding that messiness, disorder or untidiness in research are neither secondary phenomena, nor that they are to be avoided by technical-strategic means or to get rid of through scientific hygiene measures. On the contrary, their occurence is considered constitutive for knowledge practices, in which diverse degrees of order come about in unpredictable and open-ended processes.
With texts by Lisa Conrad, Knut Ebeling, Paul Feyerabend, Moritz Greiner-Petter, John Law, Claudia Mareis, Shintaro Miyazaki, Anja Schwanhäußer, Walter Seitter, Max Stadler, Nicole Stöcklmayr, Stefan Wellgraf, Friedrich Weltzien, Christof Windgätter.
The creative imperative, heavily discussed in contemporary culture, had seen a remarkable historic boom already back in the 1960s. Creativity, imagination, and visual thinking were of great interest in areas spanning from the military-academic complex to counterculture or esoterics. These notions were not limited to art and design but a concern for psychology and psychotherapy, cognitive and computer science, mathematics, or social studies and politics alike. In historic case studies, this volume traces the role of theories and practices of imagination and creativity in an interdisciplinary, applied image culture around the 1960s.
Manifestationen im Entwurf
The study of artifacts that emerge and are developed in design processes deserve much more scholarly attention. This volume looks into the epistemic role of manifestations in designing, that render intentions, methods and creative processes legible. The contributions from and about the fields of design, architecture and engineering develop a transdisciplinary perspective on designing in the light of analog and digital processes of planning and technologization.
Ästhetik der Materialität
From the perspective of philosophy, cultural and literary studies as well as art and design this anthology addresses the purportedly opposed relationship between matter or materiality and the sphere of ideas or the mental. That the material and the mental depend on each other, that matter and materiality shape our thinking and characterize our interaction with artifacts, was ignored a long time, especially in the field of the arts. Against this backdrop, the articles in the book deal with the materiality of seemingly immaterial phenomena like light, electromagnetic radiation and odours but also classic materials like plastics, lead and paper. With contributions by Peter Sloterdijk, Thomas Macho, Cornelia Ortlieb, Claudia Mareis, among others.
Eighty-Seven Questions on Artistic Research
The SARN published this notebook to be handed out during the ELIA conference Economies of Aesthetics in June 2016 at the Academy of Art and Design Basel. The notebook was the basis of a lecture/performance implying that Artistic Research is a central ‘playgound’ for the interaction between economics and aesthetics.
All we need is (Art) Research?
This publication is the product of two events organised by SARN, the Swiss Artistic Research Network, that were dedicated to the questions of how artistic research funding in Switzerland has developed, which research topics have been taken up and which expectations and ideas will persist regarding the future importance and positioning of this research field. Of special interest was the perspective of the actors involved who are devoting themselves to promoting this research in universities of the arts in Switzerland.
Three Questions On Media Criticality
The booklet and respective website is the setout for an inquiry into the conditions, modes and potentials of critique of, in, and through ‘media’. It was developed on occasion of a discussion session held by IXDM’s Critical Media Lab and guests at Transmediale 2015 in Berlin. The field notebook is a collection of responses by invited scholars, artists and designers on three provocative questions: What are promising modes of critique today? What is critical about media technologies? What comes after critique?
Artistic research is a current issue in art education and practice. Since the implementation of the Bologna process research activities at art and design academies are discussed lively. In ten text and photo essays the publication by the Academy of Art and Design FHNW draws on these recent discourses.
Wer gestaltet die Gestaltung?
The interest in participation in design since the 1960s has led to a range of productive practices and theories. Today however, there arises the question whether the guiding model of participatory design is based on an idealized understanding of democracy and social participation. This volume is critically taking inventory of participatory design, its genealogy and current theorizing. With contributions by Gilbert Cockton, Pelle Ehn, Jesko Fezer, Richard Herriott, Claudia Mareis, and Elizabeth Sanders among others.
Long Lost Friends
Although design, media, and science studies receive a certain attention in recent years, questions concerning their relations are rarely asked. The volume addresses this lack in search for the interfaces and interferences of the three disciplines. Point of departure is the shared interest in specific modes of representation, experimentation, recording, mapping, and designing. The aim is to foster a disciplinary self-reflexivity as well as the attempt to locate transversal strategies, objects, or forms. Not least for creating future-proof opportunities that neither fall short of established standards nor are vulnerable versus impositions of politics. With contributions by Sabine Ammon, Kathrin Friedrich, Siegfried Gronert, Christiane Heibach, Toni Hildebrandt, Claudia Mareis, Jens Schröter, Anja Sattelmacher, Jens Weber, Reinhard Wendler, Christof Windgätter and Andreas Wolter.