Institute of Digital Communication Environments

Dauerhafte URI für die Sammlunghttps://irf.fhnw.ch/handle/11654/13

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Barbara Schnetzler im Kloster Schönthal - Einen Ort schaffen
(Stiftung Kloster Schönthal, 09/2024) Hollaus, Invar Torre; John Schmid, Barbara Schnetzler
04A - Beitrag Sammelband
Maschinelles Lernen
(transcript, 16.08.2024) Schubbach, Arno; Arnold, Florian; Bernhardt, Johannes C.; Feige, Daniel Martin; Schröter, Christian
04A - Beitrag Sammelband
Othmar Eder - Geborgenes
(Naturmuseum Frauenfeld, 08/2024) Hollaus, Invar Torre; Hannes Geisser
04A - Beitrag Sammelband
Intuitive Access to Oral History Video (The Pellaton Experience)
(08.02.2024) Frei, Lena; Serra, Bérénice
The Pellaton Experience, a specialized web portal for dance research, was developed by the Institute Digital Communication Environments (IDCE) at HGK Basel FHNW in collaboration with the SAPA Foundation (Swiss Archive of Performing Arts). The SAPA Foundation's archive houses interviews, dance notations, video recordings, and reviews, offering a comprehensive view of the Swiss dance scene. Recent emphasis on the "oral history" research method resulted in a substantial collection of audiovisual data, posing the challenge of making this unique content accessible to diverse audiences, leading to the creation of the Pellaton Experience project. The lecture will explore how the research project strategically presents archival materials from oral history interview series, aiming for a comprehensive understanding of the discussed topics. This effort was made possible through collaboration with an interdisciplinary team, including experts in video/media, art history, and IT (SAPA), as well as professionals in graphic design, project management, game design, and architecture (HGK Basel FHNW). Key research questions focus on user interface and user experience design, aiming to optimize scenarios like "expert search" and "uncoordinated browsing" to enhance the overall choreographic experience. The project strives to provide innovative solutions to improve accessibility and deepen the understanding of the rich history within the SAPA Foundation's archives. Consequently, we will delve into specific aspects of this interface while also establishing broader connections with themes such as digital archives, dance documentation, oral history, gesture in dance, and design.
06 - Präsentation
Selektions-Workshop Schweizer Jugend forscht
(20.01.2024) Hollaus, Invar Torre
20. Januar 2024: Selektions-Workshop Schweizer Jugend forscht; Fachperson im Bereich Kunst und Architektur, Gymnasium Neufeld Bern
99 - Sonstiges
Robert Zandvliet - Florilegium. Overview 1998 - 2023
(Peter Blum Edition, 2024) Hollaus, Invar Torre; Zandvliet, Robert
Invar-Torre Hollaus: Robert Zandvliet – A Boundless Gaze (S.6-9) & A Dialogue about Painting – Invar-Torre Hollaus in Conversation with Robert Zandvliet (S.36-42), in: Robert Zandvliet – Florilegium, Ausst.-Kat. Peter Blum Gallery, New York 2024
02 - Monographie
Bruno Seitz. Aquarelle: Erkundungen zu Licht und Farbe
(Tony Wuethrich Galerie, 2024) Hollaus, Invar Torre
14 - Ausstellungsbeitrag
Tilly Keiser - Überleben mit Malerei
(Schwabe Verlag, 12/2023) Hollaus, Invar Torre
04A - Beitrag Sammelband
AI and Art. Arguments for Practice
(transcript, 12/2023) Schubbach, Arno; Thiel, Sonja; Bernhardt, Johannes C.
Recent advances in the computer generation of pictures using methods and programs from artificial intelligence research, or, more precisely, machine learning, have once again raised the question of whether computers can make art. Based on A. Michael Noll’s early experiments with computer art from the 1960s, I argue by contrast that even the latest tools cannot do without human work and can only be part of an artistic practice thanks to this work. Rather than asking whether machines can make art, we should therefore develop creative practices in which it is possible to leverage the potential of new techniques for design and art.
04A - Beitrag Sammelband
Games as Speculative Tools
(28.01.2023) Frei, Lena
As society faces various socio-ecologic problems, speculation can be used as a critical practice to build on existing biases and confront dissonances. How can games encourage the players to be creative and critically reflect on the human condition, society, and their relationship to nature and technology? There is something about the human play drive that is deeply connected to our ways of experiencing and shaping the world. Through play, we can cultivate a new way of looking at, depicting, and engaging with the world and generate non-paranoid imaginations where ambiguity and diversity are at home.
06 - Präsentation
Im Schatten der Gesellschaft
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Müller, Jacqueline; Fink, Marion; Bircher, Thomas; Jäggi Schenker, Benedikt
Durch die Digitalisierung verliert das physische Buch vermehrt an Bedeutung. Doch als bewusst eingesetztes Medium erfüllt es durch seine Verwandlungskraft sowohl ästhetische als auch konzeptionelle Funktionen. Es ermöglicht den Betrachtenden eine einzigartige Erfahrung, indem es durch seine taktile Beschaffenheit eine zusätzliche Dimension der Wahrnehmung eröffnet. In meiner Bachelor-Arbeit habe ich mich mit dem Aspekt von Materialität und Drucktechnik auseinandergesetzt, um dem Buch durch seine formalen Besonderheiten Ausdruckskraft zu verleihen. Mein Buch zum Thema Sans-Papiers ist komplett in Schwarz gestaltet. Es enthält 100 Porträts von Sans-Papiers, die mit Künstlicher Intelligenz (KI) generiert wurden, um die Anonymität der Personen zu wahren. Die Porträts, die mit schwarzer Farbe auf schwarzem Papier gedruckt sind, erscheinen nahezu unsichtbar und verweisen auf das verborgene Leben im Dunkeln sowie auf die Problematik der Schwarzarbeit. Mit dem grossen Format und dem Volumen wird die Vielzahl der in der Schweiz lebenden Sans-Papiers symbolisiert. Durch die ungewöhnliche Drucktechnik und die Verwendung von unterschiedlichen Papiergrammaturen möchte ich die Betrachtenden dazu anregen, das physische Buch auch in Zeiten von E-Books als bedeutendes Medium für eine ganzheitliche Erfahrung wertzuschätzen.
11 - Studentische Arbeit
Algorithmic experience: visualising the Instagram machine learning process for end-users
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Szlachta, Anna Maria; Reymond, Claire; Oplatek, Jiri; Zeller, Ludwig
Algorithmic experience (AX) is a Human Computer Interaction concept that applies to digital products where a significant part of the end-user experience is determined by the algorithms. In other words, it is not only the quality of the interface that is relevant, but also the algorithmic processes whose result is represented by the interface. Some examples of such software products are social media platforms like Facebook, Instagram, TikTok, YouTube, LinkedIn, and others. With the advancement of algorithms, machine learning and AI, the algorithmic experience that is delivered is increasingly personalised. Moreover, the tailored content means that the experience can be different for each user, depending on several factors. Digital product designers therefore face the challenge of researching with users about their algorithmic experience. However, when we speak of algorithms, we mean complex processes that are invisible to end-users. Typically, understanding algorithmic models and concepts also requires advanced mathematical or technical knowledge. So far, such research has been conducted by means of in-depth interviews, but hit many additional obstacles with, for example, the understanding of basic algorithmic vocabulary. During the thesis, it was proposed to overcome this barrier by using visualisation. Building a common ground between designers and end-users using visual language could deepen the quality of the interviews. This would enable UX researchers to provide more valuable insights to the data science team and also be responsible for shaping the algorithmic experience of the product. The popular social media platform Instagram was chosen as an example for visualisation. A series of images explored how to present the algorithmic process to non-experts. The process included not only image-making but also conversations with Instagram users in an iterative process: design – evaluation with five users during in-depth interviews – design – and next sessions with users. This made it possible to provide an interactive final visualisation that mainly focuses on inputs and outputs, elements in the algorithmic process that are familiar to users. Combined with Instagram’s familiar layout, this enabled discussion on multiple levels, not only referencing users’ own experiences of using the platform, but also learning how much and how users combine information in their mental model of the algorithm. The visual investigation also allowed for a broader consideration of privacy policies and data gathering by technology companies, and their real impact on users’ algorithmic experience. The illustrations opposite show the concepts tested during the design process. During the image-making process, an effort was attempted to combine, on the one hand, Instagram’s known layout for users and, on the other, to present what data is processed by machine learning and AI processes that determine the shape of the algorithmic experience. However, the main focus was on the input and output data in the input-black-box-output process.
11 - Studentische Arbeit
Voice of water
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Sukach-Kochetkova, Uliana
The project visualizes the sound of water through a ceramic installation. The goal was to visualize the sound of water in a 3D image. The ceramic result was created on the basis of cymatic, scientific and metaphorical, subjective approaches, which are completely opposite to each other, but still answer the same question that I have been working on for five months: How can we visualize the sound of water in volume? The result shows that, like cymatic shapes, a simple shell is the answer. And the concept of vases and volumes that can hold water symbolizes the theme of water as a color. This installation is open for interaction and exploration with the viewer. And every visitor may answer the question: Do ceramic objects represent the visual sound of water for you?
11 - Studentische Arbeit
A – A’ . Zwischen Inspiration und Imitation
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Müller, Marc; Stamm, Philipp; Troxler, Annik; Ferraro, Thomas
Imitation und Inspiration liegen sehr nahe beieinander, wenn es darum geht, ein Projekt neu zu entwickeln. Das Kopieren einer Arbeit ist nicht immer falsch. Im Rahmen meiner Bachelor-Arbeit habe ich die Grenze zwischen Imitation und Inspiration untersucht. Dazu habe ich mich mit dem Plakat «Johannes Froben und der Basler Buchdruck des 16. Jahrhunderts» von Emil Ruder auseinandergesetzt. Das Plakat ist aus zwei Linien und dem doppelzeiligen Titel dazwischen aufgebaut. Für dieses Projekt bin ich von meiner Interpretation einer Buchpresse ausgegangen. Das Ziel war es, das Plakat mehrmals zu verändern und die 1116 finalen Varianten in acht Kategorien zu ordnen. Dabei soll die generierte Masse in Form eines Buches zeigen, was durch das Imitieren oder Nachahmen eines Originals alles möglich ist. Die Medien Buch und Plakat werden verbunden, um den Inhalt des Originals, den Basler Buchdruck, besser transportieren zu können. Ich generiere eine Sammlung, wie es Emil Ruder eventuell ebenfalls gemacht hat, eine Art Rückwärts-Analyse. Das Ziel ist es nicht, ein besseres Original zu erschaffen, sondern mit unzähligen Varianten und einem gebundenen Buch zu zeigen, dass das Imitieren weitere Türen öffnen kann. Kopieren ist wichtig für den Erhalt und vor allem für die Weiterentwicklung der Gesellschaft und der Kultur.
11 - Studentische Arbeit
Why not exactly? Revisiting the alleged arguments against the artistic sublime in Kant's “critique of the aesthetic power of Judgment”
(Aesthetica Edizioni, 2023) Schubbach, Arno; Clewis, Robert R.; Schubbach, Arno
The debate about whether, according to Kant, there can be an artistic sublime often fails to clarify the relationship of the “Analytic of the Sublime” to the “Analytic of the Beautiful” and to the short discourse on art of the Critique of the Power of Judgment (KU, § 43 to § 59). Therefore, three types of arguments are often conflated, which I would like to propose to distinguish as precisely as possible: 1. Arguments that cast doubt on the possibility of aesthetic judgments with respect to works of art in general; 2. arguments that specifically put into question the experience of the beautiful in the arts; 3. Arguments questioning the artistic sublime. Kant addresses the first two types of arguments in his ingenious argumentation of why we can experience works of art as beautiful at all. However, they are often readily understood as arguments against the possibility of an artistic sublime, which Kant, however, hardly discusses as such. By distinguishing these types of arguments, I want to pinpoint what exactly, according to Kant, stood in the way of the possibil-ity of an artistic sublime – and to explore the possibility of artistic strategies to overcome these obstacles.
04A - Beitrag Sammelband
Windowcentric. Centralization of one object in a visual narrative
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Uchman-Nakamoto, Katarzyna; López, Paloma; Hollaus, Invar Torre; Bircher, Thomas
The window, a mundane yet ubiquitous architectural element, holds a fascinating magnetism within both the cultural history as well as the realm of visual storytelling. From Renaissance masterpieces to contemporary installations, the window is still very present, representing practicality and profound symbolism. Its significance in visual arts lies not only in its functional purpose of introducing natural light into the composition or directing the viewers gaze but also in its ability to evoke emotions, frame perspectives and invite contemplation. Throughout the art history, the window has served as a channel for artistic expression, embodying notions of limitation, discovery and the interplay between the interior and exterior containing the duality of that it both separates and connects and offering a glimpse into various worlds. Reflecting on the captivating attributes inherent to the window, followed by a deep investigation into its multifaced nature, has initiated an inquiry into its contemporary potential within the realm of visual narratives, specifically within the medium of illustration and graphic novel. The intricate interplay between the images in illustrated visual narrative enables for a mixture of imagination and storytelling fostering an exploration of diverse concepts. By undertaking research on a window’s dynamic qualities, symbolic resonances, and narrative capabilities this project aims to experiment in constructing a comprehensive and compelling visual narrative that centers around a singular object. This approach, rooted in the notion of centralizing an everyday object, draws inspiration from the movement of “proximate ethnography” that emerged within the arts, particularly in France during the 1970s. Artists such as Georges Perec or Sophie Calle contributed to this movement, advocating for an examination of the aspects of daily life and a departure from the allure of the exotic and distant. The questions that emerged from my preliminary research and guided my theoretical and visual investigation were the following: What is the potential of the window as a visual storytelling tool? How to build a compelling narrative around one object? How does it impact the narration? Following George Perec’s urge to study familiar objects and influenced by his portrayals of something as simple as a bedroom, as exemplified in Species of Spaces, I started drawing the essence of what I saw through and around windows I encountered, often in abstract and exaggerated forms. This led me to creating a windowcentric narrative: a story revolving around a window, adapting both the inside and the outside perspective that it offers. The resulting product of the project consists of a graphic novel seeking to construct an intriguing world of the possible (future) window views for the viewer to immerse themselves in. My visual contribution aims to provide a fresh point on the object of the window and its utilization within visual narratives. Moreover, it aspires to inspire the recipient to evaluate their relationship with the window as an object of reflection and contemplation.
11 - Studentische Arbeit
Invisible sins. Improving social awareness about garment workers through visual methods
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Jiang, Yaao; López Grüninger, Paloma; Hollaus, Invar Torre; Bircher, Thomas
The garment industry is unfortunately known for its widespread use of exploitative labor practices, such as low wages, poor working conditions, forced labor, and child labor. As a member who has been working in the industry for years, I’ve dealt with many factories and garment workers in China, so I felt an immersive responsibility to address this issue. By using visual strategies to develop a metaphorical narrative, the aim of this project is to spark dialogue and raises consciousness about garment workers. This endeavor led me to delve into the realm of fashion activism, its intersection with art, and the interplay between materials and communication. This final output wants to project on the unlooked is a sentiment of disobedience and reimagination: Disobedience as a product of activism and protest against the status quo. Reimagination is used to activate the disobedience. I used existing concepts such us care labels, embroidery, and printed t-shirts and re-imagined them while giving them new meanings. I dragged them into different media and appropriated them. The installation comprises three parts: Care, Sundress and Unboxing. In each segment, I’ve focused on garments and their unique characteristics, exploring different aspects of the garment industry and shedding light on the experiences of garment workers. Care: Conventionally, care labels are designed to guide consumers on how to maintain their clothes. They are typically hidden within clothing and are only checked or read when doing laundry. In this installation, I’ve amplified these care labels and sewn them onto the interior of a blue worker’s uniform. These labels printed with sentences from garment workers, sourced from articles and news, describing their lives and emotions. The voices from garment workers, which carry a more human touch compared to cold data. Metaphorically, these care labels convey the idea of caring, not just for the clothing but also for the laborers behind its production. The blue worker’s uniform symbolizes factory laborers and also serves as a canvas for displaying the enlarged care labels. Sundress: “Sundress” is a poem penned by Wu Xia, a Chinese garment worker who, while employed at a garment factory, became interested in writing. I discovered her poem “Sundress” in the book “Iron Moon: An Anthology of Chinese Workers’ Poetry.” Despite its focus on factory life, the poem lacks explicit signs of resentment or suffering. Instead, it filled with vivid imagery of the dress and aspirations for a brighter future. The poem is embroidered with white thread throughout the entire dress, these details are not particularly obvious from a distance. Analyzing the poem led to the concept of metaphorically utilizing the garment as a canvas upon which these female workers “wrote” their thoughts and dreams. Simultaneously, these emotions fail to reach the consumer, who, purchasing and wearing the garments, often remains unaware to its history and the craftsmanship that went into its creation. Consequently, these sentiments become “invisible” marks on the garment. Unboxing: This segment draws its inspiration from the popular phenomenon of “unboxing” videos on social media, where influencers receive a box of new clothing, display them in front of the camera, and share the experience online. However, in this unique video, the model emulates the actions of showcasing garments, all while videos play directly on the fabric itself. These videos unveil the reality hidden behind the allure that consumers often miss when purchasing clothing. In this artistic portrayal, garments serve as a canvas onto which these revealing videos are projected, transforming them into a dynamic backdrop. Adjacent to the video, there’s a pile of clothing, symbolizing garments seemingly ejected from the screen. This portrayal reflects upon the issues of mass production and over consumption within the fashion industry.
11 - Studentische Arbeit
Outsider within. A fragmented self-performance
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Manz, Vera; Schubbach, Arno; Eisenmann, Leander; Renner, Michael
Historically, Western philosophy has conceptualised the body in a dualistic approach, opposed to (and inferior) to the soul or mind. Through its political and ethical implications, dualism as such (mind-body dualism in particular) is rethought in new materialisms and in so doing, two novel concepts of the body are being articulated. The first approach aims to overcome mind-body dualism by revealing how once separated aspects are in fact entangled, resulting in a loss of distinction between psyche and soma, reason and instinct, consciousness and unconsciousness, logic and emotion. In her notion of corporeality (1987, 1994), Elizabeth Grosz describes the body and mind smoothly transforming into one another (without being able to precisely pinpoint the moment of transition). Due to the entangled nature of body and mind, both are considered not only interconnected and inseparable, but also intra-connected, and are therefore impossible to separate. The reconceptualisation of body-mind dualism has important political implications. The way in which we perceive the world, define, and appraise distinctions has political meaning: they reinforce power relations, challenge status quos, and reshape society. The second approach involves further engagement with the relationality of the body – the potential of the body to affect and to be affected, to move and to be moved, to feel and to arouse feelings. Hence, its active-passive qualities and dynamic structure are associated with movement, possibilities to act and be acted upon, and the possibility to form and be formed. The body in the sense of bodily, corporeal, material is inextricably entangled with the materiality of the world – it is not only located in the world but is of the world. As Karen Barad writes: "We are not outside observers of the world. Nor are we simply located at particular places in the world; rather, we are part of the world in its ongoing intra-activity." (2003) These concepts of the body enable thinking about an intimate and living relationship with the world, a world which is made up of other bodies. Skin opens our bodies to other bodies: through touch, the separation of self and other is undermined in the very intimacy or proximity of the encounter. The independent, separated, individualised notion of the body is no longer adequate to how the world and its complex entanglements are conceptualised. This concept of the body is somewhat erased, replacing it with others like bodily, materiality, matter, or (trans)corporeality, which reflect how the body is never one, but part of open systems. However, it is important to consider categories traditionally associated with the body such as gender, sexuality, race, (dis)ability, ethnicity, to understand how they are produced and reproduced by power relations. ‘Outsider within’ aims to challenge existing social values, mobilises the urgent need to destabilise political hierarchies, and contributes to thinking anew about our corporeal beings.
11 - Studentische Arbeit
Genormt. Format formt Schrift
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Schmid, Jacqueline; Ahn, Jinsu; Oplatek, Jiri; Meyer, Marianna
In der visuellen Kommunikation sind alle Medien von einem gewissen, teils genormten Format abhängig. In meiner Bachelor-Arbeit fragte ich mich deshalb, was mit dem Medium Plakat geschieht, wenn ich einen Text aus einem Buchformat darauf anwende. Das Buch «Blutbuch» von Kim de l’Horizon empfand ich als passend, da es das Heranwachsen einer nonbinären Person erzählt und so ein gesellschaftlich wichtiges Thema öffentlich gemacht werden kann. Die Umsetzung beinhaltet zwölf Plakate, die einen Ausschnitt aus der Mitte des Buches zeigen. Die Orientierung wird durch ein Inhaltsverzeichnis, das bei jeder Serie vorkommt, gewährleistet. Es zeigt die bereits gezeigten Serien, was gerade ausgestellt wird und was noch ausgestellt werden wird. Ausserdem findet man bei jedem Plakat einen Plakatkopf, welcher zeigt, welches Buch man liest, wer die Autor:innen sind, in welchem Kapitel man sich befindet und wie die Leseabfolge ist. Die Plakate beinhalten Eigenschaften aus der Buchgestaltung sowie plakative Momente, um die Aufmerksamkeit auch von einer weiteren Entfernung zu erzielen. Es gibt keine strikte Abfolge von links-, rechtsbündig oder zentriertem Text, um besser auf den Textinhalt und die individuelle Gestaltung jedes Plakates eingehen zu können und um diesen eine zusätzliche Dynamik zu verleihen.
11 - Studentische Arbeit
Designing Ukrainian’s soft power. Could type design influence national identity?
(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Ponomarenko, Vladyslav
Through the idea of my thesis, “Designing Ukraine’s soft power – Could type design influence national identity?” my goal in the visualization part was to build Ukraine’s identity by creating a typeface. How the language sounds is the main core of this identity. In my design, I have created a system that introduces sound to every letter. I tried to find a way to match sound with the looks, not only in the letters themselves but also when they turn into words. In the modern design of Ukraine’s alphabet, the letters don’t sound as they look, especially compared to Russian. The Ukrainian alphabet looks the same as the Russian alphabet but has some extra letters. These letters are the only things that distinguish these two languages in the visual way. People could hear a difference in the language but not see it, for example, on the street. Rits Grotesk is a typeface based on the rules of phonetics and personal life experience of the Ukrainian language.
11 - Studentische Arbeit