TRANSFER

Transfer I is intended to use project ideas, sensitivities and urgencies of the participants as material for exercises for/on/with intersubjectivities. Questioning identity, composting subjectivity and the „we“ meant by the shaping of reception, the exercises adopt linguistic operators and ideas in order to expand/reset/renew the performativity of the gesture of showing.

Transfer II is intended to work on spatial strategies opened up by the use of telecommunication technologies and apparative setups. Media-supported „realism" and the gesture of transmission build the framework for a theoretical, methodological and artistic practical confrontation.

Classes held during the winter term 2021/2022 at ATW Institute for Applied Theater Studies, JLU Gießen

Queerfeministische Kompostierungen der Digitalität | Queer Feminist Compost of Digitality

How do we relate queer-feminist to and with the phenomenon of 'digitalization'? Can an algorithmic becoming-other be granted?
Above all, we are driven by the question of whether the algorithmic as a transhumanist omnipotence narrative of techno-capitalism performs an anthropocentric gesture of domination, because especially in times of global pandemic digital solution strategies experience a renewed reinforcement, or whether we can demand a radical immanence with the critical method of composting, which also interweaves the 'alien' of the algorithmic in the mesh of world/s and thus inscribes un/determinacies that demand ethics of the unavailable.

Workshop of AG Gender/Queer Studies und Medienwissenschaft der Gesellschaft für Medienwissenschaft hosted by Rheinische Sektion der Kompostistischen Internationale, October 2020

ESTHETICS OF THE CUT: SCHNITTSTELLEN, DISCRETIZATION, BORDERING MIT BEZUG AUF KÖRPER, AKTIONEN UND RÄUME

The cut as a particular technique of shaping—giving a shape, anticipating and confguring patterns of order or even discrete bodies—and as the most abstract metaphor for how perception can be imagined: a violent image for spotting through, appropriation of and active participation in reality.
The fascination for the cut-image originates in a technical-operational necessity. The strongest component of a technical-operational necessity of a material cut is discretization (and/or separation).
The operational necessity of the cut-image is related to abstraction and materiality at the same time. It works like a diagram, which redistributes materiality in terms of functionality. In this perspective materiality itself becomes somehow optional.

Class held in the summer term 2019 at ATW Institute for Applied Theater Studies, JLU Giessen.

dislocations 2014

There is a variable and variable oriented distance between the perceiving subject and its environment; to extend, reflect and differentiate possibilities of action in relation to perception and cognition of pieces of the real, will be the aim of this territory-based laboratory. The search of emerging shapes of unknown structures and phenomena, the design of synesthetic effects, the work on multi-dimensional translations will be part of the assignment of the interventional program.

A workshop by Susanna Schoenberg and Thomas Hawranke organized by Noarte Paese Museo in collaboration with Paidia Institute. Laboratory funded by European Commission Cultural Program and Nordic Foundation developed for Migrating Art Academies, network for innovation and exchange in arts teaching and research.

dislocations 2012

The choosen core location is a community in Southern Sardinia with an established tradition on artists residency and artistic intervention: a perfect (both logistic and cultural) pre-condition in order to produce a laboratory to be extended over a larger territory: the territory –the objects of architecture, pieces of landscapes and spatial facts–has to be seen as the experimental laboratory. The technical approach to the idea of spaces or layers of spatial reality to be found will offer two main approaches: the waves trasmission and the scanning. Participants will have the possibility to deal with radio-receiver, capacitive sensors, to invent enquiries and built instruments. The visits to specific sites will be correlated to some technical matter as well as to spatial ideas and objects characteristical of the region (the cave, the dune, the industrial ruin, the restricted areas..).

A workshop by Susanna Schoenberg, Lasse Scherffig, Jonas Hansen, developed in collaboration with Paidia Institute and Noarte Paese Museo.

shaping presence: a media-oriented program on reactivity as aesthetic dimension

The subject is presence observed and discussed in relation to entities, practices and phenomena like bodies and avatars, simulation, automation, detection and tracking, tele-communication and other forms of ubiquity, virtuality, also in terms of memory and legacy, camouflage and embodiment. The analysis and practice of presence-shaping considers the (rather solipsistic) dimensions of appearing, locating and disappearing, but the main focus is dedicated to reactivity as a current and topical set-up of aesthetic experience. The course combines references out of the discourse of both art history and media theory with applicatory ideas: the programm includes artistic examples (taken from performance, conceptual and media arts) and some technical matter-of-course daily used for parameterising, treating and operating presence. The aspect of reactivity, the fact that technical systems define presence and can react to it, is going to be used also for practical exercises.

Class held in the winter term 2012/2013 at ATW Institute for Applied Theatre Studies, JLU Giessen.

expanding attendance: about presence, transparency, mobility, mapping, control

Alem da transparência fora do controle e do controle social: um workshop para discussão e prolongamento do espaço de percepção. Telepresença e controle são os pólos de um campo de tensão, o qual ainda se ornamenta com base na tecnologia atual como por exemplo a manobra de pessoas e produtos através do olhar satellite se combinam como técnica mista, os quais defendem o pragmatismo orientado por medidas de segurança como o desejo crescent ede voyerismus e alto representação. Ou seja, ser atendido pelos últimos a fim de encontrar sua utilização. Esta é uma oportunidade para a análise de estratégias e obras de artistas de mídia, não somente como empatia com técnica, mas também como alta valorização medial e experiência no campo da mídia transformada.

The workshop was part of the exhibition Geração Transterritorial/ Transterritoriale Generation, at Paço das Artes, Sao Paulo, 2007.