Berlin University of the Arts
Berlin, Germany

The Universität der Künste Berlin, UdK , situated in Berlin, Germany, is the largest art school in Europe. It is a public art school, and the smallest of the four universities in the city. It was a Hochschule until November 2001.The university is known for being one of the biggest, most diversified and traditional universities of the arts world-wide. It has four colleges specialising in fine arts, architecture, media and design, music and the performing arts with around 3,600 students. Thus the UdK is one of only three universities in Germany to unite the faculties of art and music in one institution. The teaching offered at the four colleges encompasses the full spectrum of the arts and related academic studies in more than 40 courses. Having the right to confer doctorates and post-doctoral qualifications, Berlin University of the Arts is also one of Germany’s few art colleges with full university status. Outstanding professors and students at all its colleges, as well as the steady development of teaching concepts, have publicly defined the university as a high standard of artistic and art-theoretical education. Almost all the study courses at Berlin University of the Arts are part of a centuries-old tradition. Thus Berlin University of the Arts gives its students- at an early stage of rigorously selected artists and within the protected sphere of a study course- the opportunity to investigate and experiment with other art forms in order to recognise and extend the boundaries of their own discipline.Within the field of Visual Arts , the university is known for the intense competition that involves the selection of its students, and the growth of applicants worldwide has increased during the years, due to Berlin's important current role in the cultural innovation worldwide. In the same way, the University of the Arts is publicly recognized for being on the cutting edge in the areas of Visual Arts, Fashion Design, Industrial Design and Experimental Design. Annually, the university opens its doors to the public in its four colleges , offering one of the most important art fairs in Berlin due to new proposals that highlight its young artists. Wikipedia.

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Stokowy R.,Berlin University of the Arts
Organised Sound | Year: 2017

Witnessing a sound installation in person offers an opportunity to experience the qualities and elements of a work first hand and in full, multisensory effect. A thorough documentation of an exhibition and the work that goes into it is at the essence of preserving important information for future generations. Though information can be gathered from archives, some works of sound art are only marginally presented in the literature, making it difficult to fully grasp aspects of an artist's technical, organisational and, most particularly, creative ways of working. Instead, already existing information is often reproduced. Previous documentation regarding Bill Fontana's Sound Sculpture Distant Trains, exhibited in Berlin in 1984, offers an example of the possible loss of key details. This article aims to present new research findings that will examine and illuminate the full scope of this artistic project. © Cambridge University Press 2017.

Groening G.,Berlin University of the Arts
European Journal of Horticultural Science | Year: 2016

The article consists of five parts. Part one addresses the concept that gardens are created only by civilized societies. Examples from ancient Egypt to more recent societies and their symbolism are presented. Part two considers aspects of the influence of Roman urban garden culture. Part three focuses on gardens as a world in miniature. It refers to bonsai, Adonis, and balcony gardens. Part four comments on Jan van Eyck’s fifteenth century painting “Madonna and chancellor Rolin” as a representation of urban horticulture. The fifth, and final part is concerned with urban horticulture as exemplified in gardens as elements of open space systems. It addresses the open space question, the issue of garden cities, the design of gardens, and the role of allotment and community gardens. © ISHS 2016.

Agency: European Commission | Branch: H2020 | Program: RIA | Phase: ICT-10-2015 | Award Amount: 1.85M | Year: 2016

Do-It-Yourself networking refers to a conceptual approach to the use of low-cost hardware and wireless technology in deploying local communication networks that can operate independently from the Internet, owned and controlled by local actors. MAZI means together in Greek and MAZI [] invests in this paradigm of technology-supported networking, as a means to bring closer together those living in physical proximity. Through an experienced interdisciplinary consortium, MAZI delivers a DIY networking toolkit that offers tools and guidelines for the easy deployment and customization of local networks and services. MAZI toolkit is designed to take advantage of particular characteristics of DIY networking: the de facto physical proximity between those connected; the increased privacy and autonomy; and the inclusive access. Such characteristics are used to promote information exchanges that can develop the location-based collective awareness, as a basis for fostering social cohesion, conviviality, knowledge sharing, and sustainable living. To achieve this objective, MAZI brings together partners from different disciplines: computer networks, urban planning and interdisciplinary studies, human-computer interaction, community informatics, and design research. These academic partners will collaborate closely with four community partners to ensure that MAZI toolkit benefits from the grounded experience of citizen engagement. MAZI draws from the diverse mix of competencies of its consortium to develop a transdisciplinary research framework, which will guide a series of long-term pilot studies in a range of environments, and enhanced by cross-fertilization events. The main goal of this process, and measure of success, is establishing DIY networking as a mainstream technology for enabling the development of collective awareness between those in physical proximity, and the development of surrounding research and theorizing of this approach.

Agency: European Commission | Branch: H2020 | Program: MSCA-ITN-ETN | Phase: MSCA-ITN-2014-ETN | Award Amount: 3.86M | Year: 2015

A fundamental challenge in design research today is to define the design programs that suggest how we can turn our days scientific knowledge and technical development into design for new forms of living that will provide foundations for a more sustainable way of life. Through a cross-disciplinary and cross-national network in architecture, textiles and interaction design the consortium will build and train a new research community to take on this challenge in practice based design research from a broader perspective, in collaboration between academia and the private sector, combining areas of design where Europe by tradition have a very strong position. The proposed ArcInTex ETN aims to strengthen the foundations of design for new forms of more sustainable ways of living by connecting architecture, textiles and interaction design in a training network for Early stage researchers. Deepening connections between textile, architectural and interaction design will open up for new reflective foundations of the design for living in an age of technological innovations, designing for adaptive and responsive environments connecting the scales of the body, the interior and the building. By a combination of in depth specialization, collaborative project work training and company internship, the ESRs of the network will form a highly trained avant-garde ready to take on fundamental challenges both in academia and in the private sector building their work practice on new ideas of material thinking and design thinking with emphasis on sensitive design expressions for reflective living. By strong focus on practice based design research the ETN will contribute to further establish design research at a level similar to that of engineering science in areas of special importance for the design of our future ways of living, which is crusial for academia and private sector collaboration in the given areas of design research.

Agency: European Commission | Branch: H2020 | Program: IA | Phase: ICT-36-2016 | Award Amount: 3.05M | Year: 2017

Wearable technologies aimed at private consumers constitute a nascent market, expected to grow very fast. Their disruptive power is exemplified by the competition between established technology giants and start-ups. In particular, the development of the wearable market relies on its capacity to break down barriers between creative industries and digital technology companies. At the core of this market is the amount of data that wearable technologies allow to capture, in particular over their users personal data. This raises ethical issues regarding the ownership of this data, and what wearable providers do with that data, among other ethical issues, such as labour issues manufacturing, and mineral sourcing in the supply chain. There is a need to raise awareness around such issues, while ensuring the continued development of the wearable technology and smart textiles industries. WEAR proposes to bring wearable technology stakeholders to work more closely with designers and artists across Europe to shift the development of the EU wearable industry, drawing on the rich European landscape of wearable technology and smart textile stakeholders, toward addressing the core issues head on within the research & development stages. To do so, WEAR will: Develop a sustainable European network of stakeholders and hubs, to connect and push the boundaries in the design and development of wearables; Encourage cross-border and cross-sector collaboration between creative people and technology developers to design and develop wearables ; Develop a framework within which future prototypes can be made that will become the next generation of what ethical and aesthetic wearables could/should be; Lead the emergence of innovative approaches to design, production, manufacturing and business models for wearable technologies; Make citizens, entrepreneurs and other stakeholders more aware of the ethical and aesthetic issues in making and use of wearable technologies

Walter R.,TU Berlin | Bailly G.,TU Berlin | Muller J.,TU Berlin | Muller J.,Berlin University of the Arts
Conference on Human Factors in Computing Systems - Proceedings | Year: 2013

We investigate how to reveal an initial mid-air gesture on interactive public displays. This initial gesture can serve as gesture registration for advanced operations. We propose three strategies to reveal the initial gesture: spatial division, temporal division, and integration. Spatial division permanently shows the gesture on a dedicated screen area. Temporal division interrupts the application to reveal the gesture. Integration embeds gesture hints directly in the application. We also propose a novel initial gesture called Teapot to illustrate our strategies. Our main findings from a laboratory and field study are: A large percentage of all users execute the gesture, especially with spatial division (56%). Users intuitively discover a gesture vocabulary by exploring variations of the Teapot gesture by themselves, as well as by imitating and extending other users' variations. Copyright © 2013 ACM.

Bovermann T.,Berlin University of the Arts | Griffiths D.,FoAM Vzw
Computer Music Journal | Year: 2014

What does computation sound like, and how can computational processing be integrated into live-coding practice along with code? This article gives insights into three years of artistic research and performance practice with Betablocker, an imaginary central processing unit architecture, specifically designed and implemented for live-coding purposes. It covers the themes of algorithmic composition, sound generation, genetic programming, and autonomous coding in the light of self-manipulating code and artistic research practice. © 2014 Massachusetts Institute of Technology.

Nembrini J.,Berlin University of the Arts | Samberger S.,Berlin University of the Arts | Labelle G.,Ecole Polytechnique Federale de Lausanne
Energy and Buildings | Year: 2014

This paper discusses the advantages of using a coding interface both to describe form and run performance simulations in the context of architectural design. It outlines the relevance of combining recent interest in the design community for parametric scripting with available expert-level Building Performance Simulation. This approach enables designers to address performance-related design questions at the early design stage. Pitfalls when considering non-standard solutions and the potential of the approach to circumvent such difficulties are exemplified through a housing building case study, emphasizing the under-evaluated role of the analysis tool in steering design decisions. To circumvent the difficulty for non-expert users to interpret simulation results and transform them into design moves, the use of sensitivity analysis is proposed for its specific interplay with parametric scripting. Its potential for classifying parameters in order of importance is presented in the context of a design problem. The contribution outlines how providing designers with exploratory tools allows to consider sustainable construction in a systemic manner. © 2013 Elsevier B.V.

De Campo A.,Berlin University of the Arts
Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos | Year: 2014

The ideas explored here are based on questioning some common assumptions in the usual conceptual models of hybrid (NIME-style) instrument design, and thinking and playing through the implications of these alternate strategies in theory and implementation. They include: varying the mappings between controller input and changing them on the fly in performance, e.g. by gradually entangling or disentangling process parameters; recording instrument parameter state presets and control data (gesture) loops, and reusing them as flexible performance material; and creating networks of cross-influence between gestural input from multiple human players, other gestural sources, and multiple sound generating processes, which can be modified as part of the performance. In effect, this can be described as 'Lose Control, Gain Influence' (LCGI): gracefully relinquishing full control of the processes involved, in order to gain higher-order forms influence on their behavior. These heuristics may lead both to finding non-obvious but interesting mapping strategies which can be built into more traditionally well-controlled instruments, and to new concepts for playing single-person instruments or multiplayer instrument ensembles based on networks of influence. Many of these ideas can be played with using software libraries written in SuperCollider. Copyright: © 2014 Alberto de Campo et al.

Groening G.,Berlin University of the Arts
Acta Horticulturae | Year: 2012

Asian-Pacific perspectives in garden culture and open space development have only marginally been touched upon in scholarly studies. Personal experience serves to explain this deficit. A number of books which address issues of Asian- Pacific perspectives, partially at least, from a European perspective are mentioned. Some fields for further research are approached.

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