Institute of Digital Communication Environments
Dauerhafte URI für die Sammlunghttps://irf.fhnw.ch/handle/11654/13
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Publikation Othmar Eder - Geborgenes(Naturmuseum Frauenfeld, 08/2024) Hollaus, Invar Torre; Hannes Geisser04A - Beitrag SammelbandPublikation Barbara Schnetzler im Kloster Schönthal - Einen Ort schaffen(Stiftung Kloster Schönthal, 09/2024) Hollaus, Invar Torre; John Schmid, Barbara Schnetzler04A - Beitrag SammelbandPublikation Maschinelles Lernen(transcript, 16.08.2024) Schubbach, Arno; Arnold, Florian; Bernhardt, Johannes C.; Feige, Daniel Martin; Schröter, Christian04A - Beitrag SammelbandPublikation Kant's theory of the sublime and the visual arts(Aesthetica Edizioni, 2023) Clewis, Robert R.; Schubbach, Arno03 - SammelbandPublikation 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, ArnoThe 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 SammelbandPublikation Intuitive Access to Oral History Video (The Pellaton Experience)(08.02.2024) Frei, Lena; Serra, BéréniceThe 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 - PräsentationPublikation Robert Zandvliet - Florilegium. Overview 1998 - 2023(Peter Blum Edition, 2024) Hollaus, Invar Torre; Zandvliet, RobertInvar-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 202402 - MonographiePublikation Bruno Seitz. Aquarelle: Erkundungen zu Licht und Farbe(Tony Wuethrich Galerie, 2024) Hollaus, Invar Torre14 - AusstellungsbeitragPublikation 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, LudwigAlgorithmic 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 ArbeitPublikation In between moments of emptiness in the urban transformation process. Zwischenmomente der Leere im städtischen Transformationsprozess(Hochschule für Gestaltung und Kunst Basel FHNW, 2023) Steiner, Franziska; Ahn, Jinsu; Käser, Susanne; Savic, SelenaEmpty industrial sites are frequent occurrences due to structural changes of cities. The areas and buildings left behind, initially inaccessible to the public, provide cities with new spaces. These play an important role for a future-oriented, progressive urban planning. During long processes the areas are transformed into residential, cultural or new commercial spaces. Through opening the area for the public, stories and knowledge about former uses of the industrial site disappear. Urban changes become difficult to comprehend if the process is not properly documented. As cities are in a constant flux and people adapt to new environments very quickly, it is often forgotten how it had felt or looked before. This raises the question of how urban changes can be documented, made visible and perceptible. In Basel, too, there are numerous ongoing ideas and projects for the conversion of former industrial and commercial areas. As an example of a transformation process that is still in its infancy, this master’s thesis is focused on the disused factory site "Franck-Areal" in Basel. Its emptiness offers to be explored and creates new spaces of possibilities. Inspired by the techniques of photoethnography and visual anthropology, the area is explored and documented over a period of five months. The research is mainly done through participative observation with the use of the medium photography and is used as a tool for "data collection". By looking through the camera, a different view of the environment is experienced. Through the process of photography, moments are illuminated that are only perceived through the view of the camera. Through the resulting images, moments are highlighted that will disappear with the transformation. These moments refer not only to the visually perceived, but also to a holistic, physical experience of space that is incorporated during this work. During the process of taking photographs, it is not only the sense of sight that is focused on the surroundings, but also the presence of the whole body in the space. In addition to the photographs, further material is produced during the five-month "field research". After visiting the site, personal impressions and experiences and notes from conversations are written down. A further exploration of the ‘empty space’ are the photographs and pictures from old books and archives. They contribute to overcome the physical and mental inaccessibility of the area. As a second part the images that have been created and collected are subsequently ordered, analysed and evaluated with reference to ethnographic methods. This leads to categories that indicate the symbolism of the images. They also reveal the photographer’s perspective and point of view. These indicate which motifs were perceived as important during the research. For example, they show the importance and symbolism of doors which played an essential role during the work. The resulting material is processed into a physical publication that allows the viewer to experience the place. Linked to the personal experiences during the research period, the readers go through a small section of the transformation process, from an untouchable to a space of possibility.11 - Studentische Arbeit