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| = Interventions =
| | Christian Doeller |
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| The ''Performance Platform'' inside the ''Digital Bauhaus Lab'' at the Bauhaus-University in Weimar is a high end technical device.
| | Artistic Associate at GMU / Media Environments. Supervisor DIY Electronics Lab @ Bauhausstr. 15, room K07. |
| It is designed to function as a laboratory in which both interactive and performative ideas and visions can be tested.
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| Apart from the advantage for artistic and scientific research the ''Performance Platform'' as such constitutes a significant site of our physical reality.
| | Interactive Systems, Environmental Sensing, DIY Electronics, Embodiment & Coding. |
| This sight in itself is rather curious and powerful at the same time.
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| In addition it represents our temporary thoughts on questions referring to performance and interaction in contemporary art.
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| But what are the particular ingredients that make interaction happen?
| | <u>Address:</u> Marienstraße 5 |
| Can interaction take place inside a technically controlled system?
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| What happens, if it is left to itself? What will be left after excluding its actual purpose?
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| Who decides What, What or Who implies power and control over what/whom?
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| What is our relationship to a system that only a few specialists can analyze in its inner functions?
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| This project deals with these and similar questions by setting up individual „interventions“.
| | <u>Office:</u> Room 105 |
| These interventions are formulated as instructions - they animate to take action.
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| | <u>Email:</u> christian.doeller@uni-weimar.de |
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| | <u>Website:</u> www.christiandoeller.de |
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| | == Research Interests == |
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| = '''„Intervention #1 : Imitate the System“''' =
| | * Interactivity; Sensor-Actuator-Systems |
| | * Environmental Sensing |
| | * Artistic Research; Artistic Research & Participation |
| | * Embodied Sensing/Coding Practices |
| | * DIY Electronics |
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| | == Teaching == |
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| The ''Performance Platform'' inside the ''Digital Bauhaus Lab'' is composed of twelve cameras, a recent computer system and a multichannel high-resolution video wall.
| | * Speculative Atmospheres I |
| The cameras surround a rectangular space defined by specific flooring material.
| | * Speculative Atmospheres II |
| They are linked to the computer system that collects and transforms the image data which is then sent to the video wall for different kinds of visualization purposes.
| | * Designing Utopia |
| | | * PostCompost (with Klaus Fritze) |
| ''„Intervention #1 : Imitate the System“'' tries to break this technical system down to basic human sensing, translating and acting skills.
| | * Embodiment Toolkit |
| Every technical part of the ''Performance Platform'' is thereby represented by a group of peoples.
| | * The Plant Plant (with Klaus Fritze) |
| Each individual group has to deal with sensual limitations that correspond to the particular function of the allocated platform part.
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| In this version of the experiment the whole system is based on the method of „chronologic one way communication“.
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| This means that any sensual reception is perceived, memorized and finally transferred to the systems „next layer“ (next group of peoples / next technical part).
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| Any transfer of memory is represented by either verbal or physical action which then builds up the base for the next level of memorization - that provides the base for another layer of action - and so forth.
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| The whole process starts with a ''„model A“'' that defines the first level of perception and memorization.
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| Everything results into a transformed version of ''„model A“'', a ''„model *A“'' after the perception, memorization and action process of each individual group is finished.
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| '''General interest:'''
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| - different concepts of communication, translation and transformation
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| - differences between „model A“ and „model A*“
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| => efficiency of a „human machine“ / differences between human and nonhuman strategies
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| - new ideas and suggestions that come up during the experiment
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| '''Layout:'''
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| - one person / object represents ''„model A“'' / ''„object A“''
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| - six peoples represent the cameras (''„the eye“'')
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| - six peoples represent the computer (''„the brain“'')
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| - six peoples represent the video wall (''„the hand“'')
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| - one person / object represents ''„model *A“'' / ''„object *A“''
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| '''Procedure'''
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| 1.) Participants are separated in groups (general: model, eye, brain, ..) and subgroups (communication line: eye #1, brain #1, hand #1; eye #2, brain #2, hand #2; …).
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| ''„Brains“'', ''„hands“'' and'' „model *A“'' leave the room.
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| 2.) ''„Model A“'' is situated in the room
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| 3.) Six ''„eyes“'' surround ''„model A“''. They observe and memorize its pose from a fixed perspective.
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| 4.) ''„Model A“'' leaves the room. ''„Brains“'' enter and join their respective „eye-partner“. Memories are transferred.
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| 5.) ''„Eyes“'' leave the space. ''„Brains“'' remain at the spot.
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| 6.) ''„Hands“'' enter. They join their respective „brain-partner“. Memories are transferred.
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| 7.) ''„Brains“'' leave the space. ''„Hands“'' remain at the spot.
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| 8.) ''„Model *A“'' enters the space. It is situated in the room.
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| 9.)'' „Hands“'' shape ''„model *A“'' one by one.
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| 10.) ''„Model A“'' has been translated into ''„model *A“''.
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| In the end a group '''discussion''' took place.
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| The following changes were considered:
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| Not only one ''„model A“'' but maybe multiple models.
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| The exact position in space will be different from each perspective.
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| Relations between the individual models will be visible.
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| 2)
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| Each perspective could be more exact.
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| The transformation process could change / become more difficult / more precise. | |
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| 3)
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| Question: all „hands“ at once, or one after the other?
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| Everything at once (simultaneously)?
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| 5)
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| Restriction of senses: who is allowed to speak?
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| To act? To listen? To see?
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| '''Documentation:'''
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