Programm:

06.09.2019

Outdoor Workshop with Amelie Piepenbring

07.09.2019

Public Lecture Performance by Meriel Price and Johann-Michael Schneider (Duo Aside) Time: 19-21:30 Uhr, Location: 25hours Hotel The Trip Frankfurt am Main Please register: presse@diejungeakademie.de

08.09.2019

Indoor Workshop: What is Creativity?

Workshop with Input Statements by Martin Dresler (Neuroscience), Christoph Gosepath (Director and Psychotherapist) and Carsten von Wissel (Political/Social Sciences).

Miriam Akkermann is responsible for this workshop.

Long gone are the days when virtual reality was considered nothing more than a way to enhance computer games. VR technologies continue to gain in importance in research fields such as psychology and cognitive science because of the wealth of opportunities they offer, for example, when it comes to the development of new learning methods or of new approaches in psychotherapy.

What has yet to be explored is the vast spectrum of opportunities within audio-visual projects that explicitly focus on the use of VR in the realm of audio. From our daily life experience, we know that our spatial orientation is influenced by what we hear. Furthermore, film studies have shown that audio can enhance people’s sense of immersion in audiovisual works.

In our project, we want to find out whether it’s possible to use VR technology and 360° audio to render an environment to such a realistic extent that we’re able to develop computer games designed to train people’s hearing. The film and sound recordings used in our project were made in outdoor spaces and buildings in Berlin and Bayreuth. For the sound recordings, we used a microphone designed at the TU Berlin. At each level of the game, players are required to solve perception-based tasks, such as connecting the direction of a sound with the corresponding film clip. The game is intended to be motivating and entertaining while simultaneously training players’ auditory perception.

Based on this game, which is currently in development, our project explores questions that extend beyond the game itself:

What can be and should be achieved with spatial audio in the field of VR? How can spatial perception be influenced by sound and imagery in VR? How can VR be used for training and knowledge transfer?

Der Name des Projektes rührt von der Lage des Projekt-Ortes: Mitten im Hulsberg-Viertel steht das Haus mit der Anschrift Sorgenfrei 1, das bis vor wenigen Jahren von Angestellten des Klinikums Bremen Mitte bewohnt wurde. Sorgenfrei ist eine kleine, ruhige Straße mit nahezu dörflichem Charakter. Ihr Name zeugt davon, dass Familien hier günstig Eigentumshäuser erwerben und somit sorgenfrei leben konnte. In der Nachbarschaft finden sich je nach Blickrichtung die Straße Am Schwarzen Meer beziehungsweise eine Grünfläche auf dem Gelände des Klinikums. Gleich nebenan die Pathologie, eine Recycling Station und ein Übergangswohnheim. Also ein Umfeld, in dem von Sorgenfreiheit kaum die Rede sein kann.

Das Haus Sorgenfrei 1 umfasst rund 13 Zimmer auf vier Etagen und trägt noch die Spuren der letzten Bewohnerinnen, wie beispielsweise eine umfassende Bierdeckelsammlung. Hier fanden zwischen März und Juni 2017 zahlreiche Interventionen von Künstlerinnen und Wissenschaftler*innen statt. Gefragt wurde nicht nur nach dem Wechselverhältnis von Mensch und Raum oder Vergangenheit und Zukunft angesichts eines Stadtviertels im Umbruch, sondern auch nach den mit dem Gebäude und Gelände verbundenen Geschichten, Erinnerungen, Bedeutungen und Utopien.

Information on the individual projects (German, pdf) Closing publication (German, pdf)

sch wa nk hal le website

Performing Institutions developed out of the research group ‘Art as Research’ at Die Junge Akademie at the Berlin-Brandenburg Academy of Sciences and Humanities and the Academy of Sciences Leopoldina. The book is based on the ‘Performing Institutions’ series of talks conducted by the research group as part of Herbordt/Mohren’s production ‘Die Institution’ (‘The Institution’) and ‘Die Aufführung‘ (‘The Performance’). The talks were conducted with the generous support of the ‘Cultural Foundations of Integration’ excellence cluster at the University of Konstanz.

The publication features contributions from Annemarie Matzke, Bernhard Herbordt, Melanie Mohren, Emanuel V. Towfigh, Florian Malzacher, Hans-Werner Kroesinger, Iris Dressler, Jan-Philipp Possmann, Jean-Baptiste Joly, Jens Badura, Katja Diefenbach, Knut Ebeling, Marcell Mars, Martin Nachbar, Martina Grohmann, Matthias Warstat, Maximilian Haas, Michl Schmidt, Natascha Siouzouli, Pirkko Husemann, Sandra Umathum, Stefan Apostolou-Hölscher, Steve Valk, Suresh Kumar, Ursula Achternkamp, Vesna Vucovic, and an introduction by Esther Boldt.

Graphic design: Demian Bern

more about the book

Glossary (German, pdf) Program (German, pdf)

Program (German, pdf) News entry from the Folkwang Universitof the Arts (only in German) Closing publication "Zum Brüllen!" at Olms Weidmann publishing

Spread across three evenings and the ‘The Performance’ project, ‘Performing Institutions #4’ discussed a simple yet complex question: what should we do? In view of steadily disintegrating community structures, it is community institutions that are under particular scrutiny in this regard. Selected institutions from the fields of theatre, politics and society were therefore examined and potential contemporisation strategies discussed. Participants included artists and academics alike. The event’s host and scene-setter was the performance project ‘The Performance’, the current focus of which is the contemporisation of theatrical presentation formats.

The ‘Performing Institutions’ series of events – the fourth edition of which took place within the framework of ‘The Performance’ (31.10., 1.-2.11.2013, Sophiensaele Berlin) – was organised by the research group Art as Research? of Die Junge Akademie. It was initiated by Melanie Mohren and Bernhard Herbordt and co-ordinated by Juliane Beck.

the performance

To give an example, Prussia sought to avoid lagging behind its European rivals by founding the Academy of Arts (1696), the Academy of Science (1700), and later the Royal Museums in Berlin (from 1830 onwards). The primary task of these institutions was to build the machine. The academies focused on scientific and artistic research, whilst the museums collected the components deemed to be required. Work on the world improvement machine ceased as the 19th century drew to a close, and the secret project was forgotten.

The world improvement machine is now the subject of a critical reconstruction, with supplementary texts used to mark 70 artefacts that were originally selected as machine components and are now spread around Berlin’s collections. A treasure map leads visitors to items in the Egyptian Museum, Alte Nationalgalerie, Collection of Classical Antiquities, German Historical Museum, Ethnological Museum, Gemäldegalerie, Hamburger Bahnhof, Berggruen Museum, Museum für Naturkunde, Museum of Prehistory and Early History, Neue Nationalgalerie, Scharf-Gerstenberg Collection, Sculpture Collection, Museum of Byzantine Art, and Museum of the Ancient Near East.

In addition, a ten metre high, pyramid-shaped model of the world improvement machine is on display at the Hamburger Bahnhof gallery. Two accompanying publications are available through Merve Verlag.

Salon, June 2009: 1st Art + Academia Salon

Working in co-operation with the Berlin Academy of Arts, the research group Art as Research? held its first Art + Academia Salon in Berlin in June 2009. International guests joined the research group in investigating the following questions from both a historical and current, project-based perspective:

Is art becoming academic? Is academia becoming artistic? What happens when the systems of art and academia merge, and what does that mean in terms of their societal functions? What is the role of political and economic players who assert their interests with the aid of educational reform and the promotion of technology? Does the adoption of a research role open up alternatives in terms of commercialisation on the art market? To what extent are the results of projects carried out under the banner of interdisciplinarity – be those results new forms of gaining and imparting findings or knowledge from outside of academic boundaries – redeemed?

Salon, November 2009: 2nd Art + Academia Salon

The second Art + Academia Salon took the title “Klimakunstforschung” (literally “Climate Art Research”), and was held at the Berlin Academy of Arts on November 22, 2009. Its main focus was climate change and resource-related conflicts as worldwide phenomena that bring about radical change within the global society. Discussions dealt with the intersection between artistic and academic practices in this area.

Salon, July 2011: 3rd Art + Academia Salon

The third Art + Academia Salon was held at the Berlin Academy of Arts on July 1, 2011, and witnessed the launch of the book “Klimakunstforschung”. In addition, the American concept artist Mel Chin presented his “Revival Field” and “Operation Paydirt” projects, in which he co-operated with scientists in order to remove heavy metals from soil at various locations. This was followed by a discussion between Mel Chin, Florian Dombois, Tue Greenfort, and editors Friedrich von Borries, Christian Hiller, and Wilma Renfordt.

Salon, October 2011: 4th Art + Academia Salon: Disturbances

Held at the Berlin Academy of Arts on October 14, 2011, the fourth Art + Academia Salon saw Dirk Baecker, Friedrich von Borries, Julian Gutt, Anke Jentsch, Markus Popp, and Christian Schneegass tackle the following questions: what influence do disturbances have on the dynamics of complex systems? How do we deal with the unexpected, uncertainty, and extreme events? Can we shape prerequisites and framework conditions to our advantage?

Salon, October 2012: 5th Art + Academia Salon: Archives

Archives are a material form of memory, and represent locations where objects, documents, thoughts, and dreams are stored. They are linked to notions of preservation, appreciation, and care. There is nevertheless a darker side to archives, as they necessitate decisions on issues such as importance/unimportance, holiness/profanity, permanence/transience, and value/worthlessness. Who decides what is kept? And who has the power to grant or deny access to the archive?

This salon took place in Erlangen on October 20-21, 2012. Participants included Lindy Annis, Stephan Günzel, Herbordt/Mohren, Evelyn Runge, Janine Schulze, Herbert Stattler, and other members of Die Junge Akademie, as well as employees of the Institute of Theatre and Media Studies at Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU).

These were the central questions posed by this exhibition, which built upon on-going discussions of potential concepts amongst climate researchers whose aim is not to prevent climate change, but to identify ways of adapting to it. Exhibits took the form of 30 current and historical capsules from the fields of art, architecture, and design, each of which presented a life independent of outside climatic conditions: Climate change inspired clothing, capsules for the body or as living space, swimming cities, nature capsules, and concepts for chemical and physical intervention. The exhibition enabled visitors to gain a sensory experience of the various installations and models – and with them future “capsule worlds” that could allow us to adapt to changes in the conditions upon which our survival depends.

The exhibition was a joint project between the Hamburg Museum of Art and Industry (MKG) and the Hamburg University of Fine Arts (HFBK). It was curated by Friedrich von Borries, a member of the research group Art as Research?, and ran between May 28 and August 8, 2010. The exhibition was preceded by a two-day symposium.

Further information (German, pdf)