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Conradin Frei, Jyrgen Ueberschär
6 CreditsBKM-BKM-Te.19H.001
Technologie: Karton als Material für Skulpturen und Objekte
Brigit Naef, Piär Amrein
3 CreditsBKM-BKM-Te.19H.004
Technologie: Materialsuche & Kunstumsetzung (Doppelmodul)
Roman Gysin, Monika Schori
6 CreditsBKM-BKM-Te.19H.002
Technologie: Materialtechnologie und Theorie moderner Kunststoffe im Kontext transdisziplinärer Medien.
Florian Germann *1978
3 CreditsBKM-BKM-Te.19H.006
Technologie: Video 1: Arbeiten mit bewegtem Bild und Ton (Doppelmodul) (gLV)
Thomas Isler, Gregg Skerman
6 CreditsBKM-BKM-Te.19H.010
Technologie: Vom Konzept zum animierten Video – eine komplette Produktionskette in Autodesk Maya (Doppelmodul)
Nicola Imwinkelried
6 CreditsBKM-BKM-Te.19H.014
Technology: Sound
Pervasive, Adequate and the Playlist: A Canned Response
Nummer und Typ | BKM-BKM-Te.19H.011 / Moduldurchführung |
---|---|
Modul | Technologie |
Veranstalter | Departement Fine Arts |
Leitung | William Davis |
Zeit | |
Anzahl Teilnehmende | maximal 15 |
ECTS | 3 Credits |
Lehrform | Group and individual tutorials, project-based assignments, lectures and presentations |
Zielgruppen | BA Fine Arts students |
Inhalte | Pervasive, Adequate and the Playlist: A Canned Response The aim of the course is to investigate the intersectional spaces created by music purposed for a specific physical environment, and the personal playlist that is purposed for the individual listener. Examinations will focus on the overall cultural and social implications of such phenomena. The course will cover historical formats for music in public spaces such as muzak, canned studio materials, club culture (DJ), sample banks and corporate playlists. Artist samples and discussions include: Vito Acconci, Laurie Anderson, Andrea Fraser, Beck, Jeremy Deller, Art Club 2000, various Vaperwave and Monster Box productions. As a part of the course, there will be a practical assignment, i.e. production and assembly of audio materials that deal with the topic. As well, there will be listening examples presented. Participants should keep in mind how such phenomena relate to their own practices, especially concerning the use of audio materials with performance and video productions. Billy Davis (* 1969, Austin, TX) is a composer, recording artist, music producer and founder of workhorsesong studio in Berlin. He studied at Franklin School of Art, Department of Fine Arts (Prof. James Herbert, Film and Art) at the University of Georgia/USA. Since 2015, he collaborates with the Richard Thomas Foundation (London/Berlin), developing artists’ projects related to music, sound and performance. From 2013 to 2018, he taught Video and Sound at Umeå Academy of Fine Arts, Umeå University, Sweden. Works include compositions and collaborations with: Matt Saunders, „Double Mattie“, Marian Goodman Gallery, Paris/NY (Collection Guggenheim Museum, NY), Swetlana Heger „Out of the Shadow/Into the Fog“ Cabaret Voltaire, Zürich/VI. Moscow International Biennale, „Untitled (The Cohen Residence, Paradise Valley)“, Phoenix Art Museum/The Bass Museum of Art, Miami, Karin Sander „Zeigen“ Galerie für Zeitgenössische Kunst, Leipzig, Raymond Pettibon „The Family“ (Collection MoMA, NY). Editorial: Sueddeutsche Magazin Online, Nowness.com, Nike/Olympic Team, USA, Tod’s, UK, Herman Miller, USA, Alice Temperley, UK Frye, USA, St. John ́s, UK Fantastic Paper, D Music Labels and Publishing: Warner/Chappell Music, USA BMG, Europe workhorsesong, D/USA |
Leistungsnachweis / Testatanforderung | Mandatory attendance (minimum 80 %); active participation. |
Termine | Time: 09:15 - 17:00 o'clock CW 47 (Monday to Friday): 18 - 22 November |
Bewertungsform | bestanden / nicht bestanden |