Courses 2020-2021

This is an overview of ArtScience courses given this Academic Year, subject to the ‘ArtScience Courses of Choice’ stated in the curriculum. Some courses are mandatory for students of certain years, which is mentioned with the course description. All courses are open for all students of the Bachelor as well as the Master programme, unless the course is full.

CASS Exchange Workshops are part of the exchange weeks (two weeks after the Autumn Break and two weeks after the Spring Break) between the Creative Departments of the Royal Conservatoire (Composition, Sonology and ArtScience), where all departments offer courses accessible to all of their students.

MasterPrimers are courses on a higher theoretical level. They are focused on our Master students. Bachelor students can attend, though they should realise the level. In cases of a limited allowed number of students to a Master Primer course, Masters will have priority over Bachelors.

KABK IST Courses mentioned here are those courses of the KABK IST programme that are organised by ArtScience.

PLEASE NOTE: Due to the current Covid-19 pandemia, this schedule can be subject to changes over the year. We hope for your understanding.

This list is not 100% complete yet. More course descriptions will be added here in the very near future.

AIOTMLWTF 0.2a — Arthur Elsenaar
Art <> Science Methods — Valery Vermeulen
ArtScience Repertoire — Marion Tränkle
B(l)ack to Spaceship Earth — TBA
Cognitive Dissonance — Arthur Elsenaar
Collecting Observations — Marion Tränkle
Disobedient Devices — Dani Ploeger
Exploring the Game Engine as a Medium — Jan Robert Leegte
Introduction to ArtScience — Taconis Stolk
Introduction to Studio Techniques — Robert Pravda
Int(r)o Projection — Kasper van der Horst
Lighting Design for/as Performance — Katinka Marač
’Pataphysics — Matthijs van Boxsel
Patterns of Ebb and Flow — Cocky Eek
Practical Perfumery for Olfactory Art — Renske van Vroonhoven, Lauren Jetty
Pro Projection — Kasper van der Horst
Prototyping Decolonization in the Art Studio — Milton Almonacid, Darko Lagunas
Quick and Dirty — Cocky Eek
RecPlay (Semester 1, Semester 2) — Kasper van der Horst, Robert Pravda
Redeconstruct Media — Kasper van der Horst, Nenad Popov
SoundWorlds 1 — Robert Pravda, Milica Ilić
SoundWorlds 2 — Robert Pravda
Spacious: The Architectural Body (SpaceTime 2) — Renske Maria van Dam
Spacious: Tiny Perceptions (SpaceTime 1) — Renske Maria van Dam
Spectra: Space as Organism — Andrea Bożić, Julia Willms
System(s) Interventions — Marion Tränkle
The ‘Other’ Senses — Caro Verbeek
What to Sonify when Lending an Ear to an Event — Willem van Weelden
Why Look at Animals? — Cocky Eek, guests
Writing as/in Research — Maya Rasker



AIOTMLWTF 0.2A – Computation in Art
Arthur Elsenaar
Mandatory for: Elective
Type: Weekly Course, online

Course Content:
A year long research group aiming to explore – from a historic perspective – a variety of topics that relate to generative/process art, computation, AI/ML, complexity, cybernetics, emergence, chaos vs randomness, etc.
In seminar style, the group will pick a topic (paper) for the next session that will then be presented by one of the participants and discussed in the group.
Next to theory, we will work on practical code examples and collectively work on individual programming problems.
A previous iteration of this course can be found here: https://aiotmlwtf.xyz

Requirements:
Students need to have experience with programming (Python).

Objectives:
– you will have a better understanding of named topics and how these relate on one another
– you’ve gained some practical skills in implementing these topics in your own art endeavours
– you became wise enough not to go under in a sea of complexity

Work form:
Seminar style with hands-on exercises and problem solving.

Assessment:
Attendance (min 80%) and proven understanding of the topics by showing working code (whatever that is).

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: TBA



Art <> Science Methods
Dr. Valery Vermeulen
Mandatory for: Elective
Type: Standard Course, online

Course Content:
Main focus of this course is how creativity and creative processes can be used and understood from an artistic, a scientific as well as an intersectional point of view.
When working as a creative mind it is often unfortunately still preassumed that there is an inherent choice between an analyticand more intuitive approach. The analytic being more associated with a “scientific” approach and the “intuitive” being with a more artistic approach. Recent new developments in the field of artscience try to dissolve and put this dichotomization in a new perspective. Despite this evolution the missing link between the method and world of the artist and that of the archetypal scientist still persists. This course is aimed at guiding the students to find this missing link in their own work and practice. In doing so we’ll seek to provide guidlines for an intersectional approach to working in the artscience domain.
We’ll start the course by diving into the methods, strategies and techniques that are the driving force of new discoveries in various scientific domains. Domains hereby include mathematics, physics, econometrics, chemistry, biology, psychology, sociology and data sciene. By studying various examples you’ll learn how to dissect and discover the parallels between “scientific” analytic creative processes and similar processes typically associated with artistic creation. The examples cover a diverse range both on an historical as well as cultural side.
Subsequently you’ll learn how to hack scientific creative processes and ideas and put them into practice in your own work. This is done under the form of a personal project for which you’ll be creating a blueprint and production plan throughout this course. This project can be related to your own work or can be build around a new topic you’re interested in.
As a first step you’ll learn how to find and incorporate the best fitting knowledge resources (literature and online recourses) related to your project. A key element hereby is to develop the skill to find recourses you can work with using personal background and knowledge that have the necessary scientific relevance. Moreover in doing so it will also give you an insight into the knowledge and expertise that is out of your personal scope and would require collaborations with external (academic) partners.
In the next step you’ll learn to design an analytic framework around the central question(s) and/or paradigm(s) in your project. You’ll be thought the basic principles of quantitative inference as used in various scientific domains such as data science, statistics, mathematics and information science. This will on the one hand learn you how to transform concepts and questions into a quantitive framework. On the other hand this will also provide you with the necessary knowledge to understand and use the limitations and pitfalls of quantitative methods and inference strategies. Hereby you’ll also learn how to connect the different quantitative methods to an artistic practice and/or point of view.
Subsequently we’ll zoom in on the use of various intermediate disciplines and knowledge fields and their tools in artscience context and your own project in particular. We’ll not only be creating an overview of the different domains from a knowledge point of view but we’ll also focus on the different soft and/or hardware tools and devices that are typically used. As we want to use such tools in an artscience context we’ll be also investigate how these can be hacked for artistic purposes. Examples of such tools include R (https://www.r-project.org/), Octave (https://www.gnu.org/software/octave/), Python (https://www.python.org/) or Paraview (https://www.paraview.org/).
Towards the end of the course you’ll have build an overview of the scientific knowledge, tools and/or techniques you’ll have need external input. You’ll then learn in a next step how to look for possible scientific partners and the strategies to setup up viable collaborations.
To end the course we’ll incorporate the concept of recursiveness in developing a project. This will guide you how to set realizible milestones in your personal project and how to create under various constraints such as time and/or resource limits.

Requirements:
There is no prior knowledge required for this course. Key qualifications of the students are both an analytic as
well as creative attitude.

Objectives:
– you will have a thorough understanding of the practical similarities and differences between creative process
employed by scientists and artists
– you will have a working knowledge on the different creative processes and analytic strategies used by
scientists
– you will acquire the skill how to transform analytic strategies and methods used by scientists for artistic
purposes and your own practice in particular
– you will have a thorough knowledge how to create and design a production plan for an artscience project.
This includes:
– thorough understanding how to look for knowledge domains and resources, soft and/or hardware tools for
the realization of an artscience project
– skill to how and where to find the relevant scientific disciplines, how to hack the knowledge in seach
discipline for use in artistic context
– skill to work and set up collaborations with external scientific partners
– gaining deeper understanding and build a practical experience to incorporate an intersectional approach in
artscience context
– you will have the skill to balance between the scientific integrity and artistic interpretation and incorporation
of scientific domains in artscience projects

Work form:
Presentation of final project.
Final project as written document.
Literature and knowlede recources review.
Group discission.

Assessment:
Presentation of final project.
Presentation will be held on 19/02.
Project proposal and description under the form of a written document.
Due date is 26/02.
Weighting for final quotation:
Presentation of final project: 30%.
Project proposal and description: 50%.
Attendance: 20%.

Grading System: Numeric
Credits: 2 ECTS
Duration: 4 classes of 6 hours



ArtScience Repertoire
Marion Tränkle and guest lecturers from LIMA
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
This workshop is the first edition of a new format that is dedicated to explore the history of ArtScience on a case-base. Every year, one seminal work is researched in great detail, placed in its historic context, re-enacted and re-interpreted. The tangible results of the workshop will be presented during the Open Day. The process will be documented online. The workshop is conducted in collaboration with LIMA, a center of expertise on archiving, preservation, and distribution of media art.
This year features the genre of telematic art, remote encounters, and the work “Telematic Dreaming” (1992) by Paul Sermon.

Requirements:
Availability during the open day 2021 (22-23.1.2021).

Objectives:
– learn about digital preservation, presentation and documentation of media artworks
– research into the genre of Telematic Art
– analyse and contextualize Paul Sermon’s work in its historic context.
– re-enact “Telematic dreaming”
– experiment with different forms of re-interpretation of the work
– publicly present/perform the workshop outcome
– document the results and publish it online

Work form:
Students work collectively on a project, present it during the Open Day to the public, and publish the documentation of the outcome online. Self-study and lectures complement the program.

Assessment:
Attendance, active participation in group process, participation in the performance/presentation during the Open Day and individual contribution to the production and online documentation of the work.
60% attendance, participation in group process.
20% participation and performance during the Open Day.
20% individual contribution.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 casses of 6 hours



B(l)ack to Spaceship Earth
TBA
Mandatory for: Elective
Type: Master Primer Course, physical

Course Content:
“There is no cure for the condition of belonging to the world.”
(Bruno Latour – Facing Gaia)
We used to have our reveries about an escape into space, but no longer. Philosopher and sociologist of science Bruno Latour, arguably the most prominent thinker alive in this domain currently, mentioned in one of his lectures on the state of ecological politics that he asked some befriended physicists to calculate how much energy it would take to build a giant spaceship and take all of humanity and as much as possible other species of Planet Earth and bring them to a shining brand new and ecological sane planet. If such a place would exist at all his physics’ friends quickly calculated that aside from the material investment in building such a giant spaceship, powering it sufficiently to reach any other start system (let alone find a suitable planet), would take all the energy of the sun.
So even if we could achieve this daunting engineering feat, and if we could organise it so that all inhabitants of planet Earth could join there in an orderly fashion (without civil wars, famines, ideological and religious conflicts, domestic abuse, #metoo scandals, Tesla flame throwers, Kalashnikovs and/or any other debasement we would not want on such a post-modern day Arc of Noah), then it would mean literally burning our bridges and boats behind us – obliterating the entire solar system in order to venture into an uncertain and destined to fail future.
It may be clear: this phantasy is an utter absurdity. Hence there is no cure from condition of belonging to Earth, except for a privileged very few (Musk, Bezos, Gates, Trump – would you want to join that company?).
The good news is though, we already have a spaceship. We are already on it, and it is marvellous despite ll its glaring imperfections. That spaceship is called planet Earth, and the question is not wether or not Earth will continue to exist, nor if life on the surface of Planet Earth is going to persist. The question is much rather whether human life is going to persist on planet Earth, and whether ‘we’ as a collective can continue to exist with a basic sense of dignity? More importantly still, how many other species would we take down with us in our fall if we are finally not able to tend to our Spaceship Earth?
To address these questions we need to begin by understanding ‘we’ as the collective of humans and non-humans. ‘We’ (as humans) are not alone on this planet. ‘We’ (as humans) have never been alone. ‘We’ (as humans) must now simply start to acknowledge this obvious condition that we are part of the collective of humans and non-humans and take responsibility for that. The old dictum of ‘Man’ as ‘master and proprietor of nature’ (Descartes) is over and done with. We knew that already when the permafrost was defrosting, but the Sars-Cov-2 outbreak has made that obvious ‘reality’ impossible to deny or escape. With our without the virus, we are bound to earth, and thus we need to face Gaia – like it or not.
In Latour’s words: “The time is past for hoping to “get through it.” We are indeed, as they say, “in a tunnel,” except that we won’t see light at the end. In these matters, hope is a bad counselor, since we are not in a crisis. We can no longer say “this, too, will pass.” We’re going to have to get used to it. It’s definitive.”
But to state the obvious (as above) is not enough. First we can speculate: What could post-colonial theories tell us about an existence in dignity on planet Earth? And how do these ideas link up with the narratives of an escape into ‘Space’? Why were / are these narratives so much fun (and so popular)?
Conversely we can ask: Is there pleasure in facing Gaia? How / where can we find it? Where is the basic eroticism of our planet? How can we liberate our existential territories from servile utility and still act responsibly to the collective of humans and non-humans and its demands (the least of which is the demand to exist in dignity)?
In yet other words the question is: How can we (as the collective of humans and non-humans) reinvent a sovereign life on the surface of Planet Earth?
Topics:
– Space was the Place! – Black to Spaceship Earth
– Transversal expeditions to existential territories – Back to Spaceship Earth
– Modes of living / existing together: The Collective of humans and non-humans and the parliament of things – or how to bring the sciences into democracy (at last)
– Four ways in: material / existential / aesthetic / organisational – from ecology to art to politics and back (to earth)
– Another Post-COVID-19 World is Possible: Composing the ‘good common world’ (of humans and non-humans.
– Dignity in the embrace of a planetary erotics.

Requirements:
Academic level 3rd years BA and beyond.

Objectives:
– introduction to current political and ecological thinking that is crucial to our survival (humans and non-humans) on the Earth-ball.
– fostering an understanding of post-colonial and post-anthropocentric ecological theories.
– Ssimulating a critical engagement with these theories, including a well-argued rejection if required by one’s specific ideological predisposition.

Work form:
Seminars.

Assessment:
Practical assignment and group presentation.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



Cognitive Dissonance – Theory in Practice
Arthur Elsenaar
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
In psychology, cognitive dissonance is the mental stress or discomfort experienced by an individual who holds two or more contradictory beliefs, ideas, or values at the same time, performs an action that is contradictory to one or more beliefs, ideas, or values, or is confronted by new information that conflicts with existing beliefs, ideas, or values.
This two week practice-based course is exploring Leon Festinger’s classic cognitive dissonance theory. We learn what this theory is about and how to effectively deploy it in artistic practice with the aim to maximize the impact of the artwork on the recipient.
Be(come) psyched!?

Requirements:
none

Objectives:
– you have learned about cognitive dissonance as a powerful human ‘feature’
– you have become a master in designing the ultimate brainfuck

Work form:
Seminar style with hands-on exercises and problem solving.

Assessment:
Attendance (min 80%). Presented project evaluated on concept and practical implementation.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



Collecting Observations
Marion Tränkle
Mandatory for: B1
Type: Standard Course, physical

Course Content:
Experimentation – observation – documentation. In this workshop we will cycle through a process of making work, starting from fiddling and free-flow experimentation to razor sharp selection and decision making. Taking the medium of light as our field of experimentation, we will discover how ideas can take shape and how observation and documentation can inform further actions and the sharpening of those ideas.
The workshop claims fiddling as an important tool for art making, and looks for ways to draw constructive consequences from it. Therefore, documentation and recording of this process will be an important aspect of the workshop. Please bring your cameras and sketchbooks.

Requirements:
none

Objectives:
– gain basic skills concerning the creative process of art-making
– get to know each other and discover ways of stepping into the process together
– learn to identify and switch between modes of experimentation, observation and documentation
– develop a personal vocabulary to capture observations in a diary format

Work form:
You will work in group processes to get to know each other and to generate diverse input. Furthermore, each of you is required to keep an individual record of those processes.

Assessment:
Attendance, active participation in group processes, individual report (work diary) at the end of the workshop.
70% attendance, participation.
30% self-reflection, individual report.

Grading System: Pass/Fail
Credits: 2 ECTS
Duration: 4 classes of 6 hours



Disobedient Devices: Practice Based Media Archaeology of Disruptive Technologies
Dani Ploeger
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
clean consumer spaces that are prevalent in the Global North in mind. However, devices are also used outside these contexts, for example in situations of environmental hardship or violent conflict, where they are oftentimes appropriated by users in reponse to local circumstances. Wifi routers are hacked to connect storage media and serve as information resources in areas without Internet connection; cooling fans from obsolete computers are repurposed in DIY vacuum cleaners; mobile phones are used as remote triggers for Improvised Explosive Devices. Studying these appropriation practices can offer new perspectives on the ideologies of high-tech consumerism and inform approaches to everyday resistance and activism.
In this course, we will draw from methods in media archaeology to examine the appropriation of everyday consumer technologies since the 1980s and develop artwork in response to this. Media archaeology concerns the theoretical and practice-based study of the histories of media technology to trace the ways obsolete, neglected or forgotten technologies and their imaginaries frequently resurface in subsequent innovations. Based on such analyses, critiques of contemporary media technologies are developed.
The course will combine theoretical and practice-based inquiry to create artistic artefacts that explore possible, but unrealized alternatives to the historical development of contemporary devices and use these to reflect on the politics of production and marketing in everyday consumer technology. We will read theory in media studies and cultural studies of technology, browse the web for museum archives and informal user accounts, dig through our own memories and closets of everyday technologies, and make new devices through appropriation of existing ideas and stuff.

Requirements:
none

Objectives:
– you will be familiar with a range of critical perspectives on appropriation of everyday technologies
– you will have gained knowledge of various ways in which consumer technologies have been appropriated since the digital revolution
– you will have explored theoretical and practice-based methods in media archaeology
– you will have gained experience in making or adapting a digital device in response to critical reflection on everyday technologies

Work form:
The course will combine critical inquiry based on theoretical texts and archival research with practice-based explorations of consumer electronics. The latter may include hands-on hacking and modification of existing or newly developed devices, but prior knowledge of electronics is not necessary.

Assessment:
The course will be assessed on the basis of attendance and a final presentation in which participants will present an artefact they found or made, accompanied by a critical reflection that draws from the course contents.
50% attendance (assessed throughout the course).
50% final presentation (assessed on the last day of the course).

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



Exploring the Game Engine as Medium
Jan Robert Leegte
Mandatory for: Elective
Type: IST Course

Course Content:
The video game industry dwarfs Hollywood and the music industry in net worth and has increasingly become a defining cultural influence the last decades. Technically, the digital game has been the pinnacle of personal computing, pushing the technology by always operating on the cutting edge of what is possible. It is a highly complex medium, dealing with simulation, AI, complex interaction, CGI, networks but also is the ultimate Gesamtkunstwerk, mixing all art forms.
Since the first home computers, and again after the arrival of the internet pushing cross platform accessibility and distribution, game design has entered the individual sphere, resulting in a flood of indie-game developers. The push has resulted in game elements to have entered all kinds of new fields. Serious games, gamification, game appropriation in art, art games, games as activism, games as design strategy, etc.
The lab aims to introduce the game engine as a medium of expression, research or design tool.

Requirements:
None.

Objectives:
In this lab we will look into this fascinating and rapidly developing field. We will watch many examples of artists and designers using the technology, analyse the video game and deconstruct it. We will look into the ability to generate images and video, at it being a platform for virtual installations and performances, how it can be used as interactive medium and how to use it for websites and mobile / desktop apps. With the end goal not of making a game, but to look and take from it, so it works for you.

Work form:
TBA

Assessment:
TBA

Grading System: TBA
Credits: 6 ECTS
Duration: 10 weekly classes of 6 hours



Introduction to ArtScience
Taconis Stolk
Mandatory for: B1, M1
Type: Introductory Course, physical

Course Content:
This course is an introduction to historical and contemporary works from and around the ArtScience domain. It presents works in five narratives, each representing a different strategy for producing artistic works. The presented works range from realised and unrealised artworks to concepts. The five approaches are chosen in such a way as to trigger discussion and reflection both on existing works and your own work.

Requirements:
None.

Objectives:
— To gain insight in the artistic realm of ArtScience.
— To distinguish different creation methodologies.

Work form:
Lectures with interdisciplinary examples.

Assessment:
Attendance, participation in discussion.

Grading System: Pass/Fail
Credits: 1 ECTS
Duration: 2 classes of 6 hours



Introduction to Studio Techniques
Robert Pravda
Mandatory for: B1 and M1
Type: Introductory Course, physical

Course Content:
Practicum in usage of the ArtScience studios. The aim of this practicum is that all participants get familiar with the studio environment.
An introduction to basic use of the studios hardware and software such as:
-– booking te studios
-– mixing desk
– amplifiers, speakers, necessary cables
-– recording
– microphone sorts and use: XY, AB, MS, Binaural
– audio interfaces and editing software
– studio ethics
All the students attending the course are expected to accomplish the exercise and be able to use and operate the studio facilities and techniques.

Requirements:
none

Objectives:
Learning how to use ArtScience studio facilities.

Work form:
Meetings in the ArtScience studio CAM10 CAM20 and CAM30.

Assessment:
All the students attending the course are expected to accomplish the exercises and be able to use and operate studio facilities and technique and have attendance of 100%.

Grading System: Pass/Fail
Credits: 1 ECTS
Duration: 2 classes of 1.5 hours (for 4 different groups)



Introprojection
Kasper van der Horst
Mandatory for: B1
Type: Standard Course, physical

Course Content:
The intention of this course is to experiment in a playful way with projection of image, light and sound in relation to your work.
keywords: •projecting on objects •surfaces •live playing •how to use audio signals •no-source •feedback video •minimal projection •ganzfeld projection •we’ll also briefly look into how tv’s, videorecorders and analog video mixers work

Requirements:
none

Objectives:
– think about how to define a space using projection
– have insight in the analog technique of video
– learn how to combine analog and digital video
– use sound in a spatial way in combination with image
– set up a video projection
– play in a live video setup
– look into complex video feedback systems

Work form:
The course consists of 4 workdays. Every day we set up a practicum with a different focus.

Assessment:
As an assignment, you will be asked to make a projection design or sketch that connects with your own work and/or ideas.
Due to the limited number of days, a 80% attendance is required.

Grading System: Pass/Fail
Credits: 2 ECTS
Duration: 4 classes of 6 hours



Lighting Design for/as Performance
Katinka Marač
Mandatory for: B1
Type: Standard Course, physical

Course Content:
The goal of this course is to give an introduction to the theory and practice of lighting design and handling basic stage equipment. We will explore how meaning can be created using the exceptional possibilities of the medium light and how lighting design can be deployed in / as performance. In the seventies artists as Robert Rauschenberg and members of the New York based Judson group shared a keen interest in working at the intersection of (dance) performance, visual art and art & technology. They drastically changed (theatrical) performance, and the role of set and lighting design, freeing it from its former supportive role and incorporating them as equal elements in, or as starting points for performances. During the course we’ll trace back the origins of lighting design in contemporary performance, by looking into the work and compositional methods of renowned American artists from the sixties and seventies and contemporary predecessors such as Xavier le Roi, Meg Stuart and Martin Spangberg.
The course is set up as a creative lab. We’ll start with a short introduction in the various elements of a lighting design, including types of light, angles and colour and an introduction to technical aspects such as patch board, dimmers and the lighting board. We’ll research how lighting design can be used to create, structure and alter content, space and time and will work on lighting design as performance.

Requirements:
none

Objectives:
To master theory and practice of basic lighting design for artistic purposes.

Work form:
TBA

Assessment:
Attendance, assignments, evaluation.

Grading System: TBA
Credits: 2 ECTS
Duration: 4 classes of 6 hours



MetaMedia
Taconis Stolk
Mandatory for: B1
Type: Standard Course, online

Course Content:
A work of art does not confine itself to an object, a picture or a sound composition. Especially not in the 21st century, where all kinds of communication technologies and strategies can be used to compose the context of art, or even to create works in disciplines and using methods that were never explored by artists before. In this course, students are given a theoretical and practical framework on how to compose concepts and context. Approaching contemporary art as a conceptual communication model opens possibilities for unusual works of art and a critical attitude towards traditional artistic paradigms, but it also creates a framework for students to develop new and effective strategies for a professional creative position in a media world. Students will create their own metamedial works during the course.

Requirements:
None.

Objectives:
— To develop a more abstract view on possibilities of artistic expression using media that are not normally used in an artistic manner.
— To investigate and understand the parameters for creative manipulation in any potential medium.

Work form:
General introduction, working groups, individual coaching.

Assessment:
Attendance, developing and presenting a metamedial project.

Grading System: Pass/Fail
Credits: 2 ECTS
Duration: 4 classes of 6 hours



‘Pataphysics
Matthijs van Boxsel R/OCS
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
Pataphysics is the Science of Imaginary Solutions. ’Pataphysics moves in the quadrant of science, religion, humour and art, four attempts to get a grip on the idiocy of existence.
’Pataphysics was at the root of futurism, dadaïsm and surrealism, but has since developped in the Oupeinpo (Ouvroir de peinture potentielle): with selfimposed constraints pataphysicians develop new forms of potential art.
On the other hand, they search for the pataphysical dimension of everday life by means of simple interventions: ’Pataphysics being the science of the exception. Inspired by everything imaginary (islands, languages, calenders, artists!) we try to figure out the pataphysical planet we are living on.
As a source of inspiration, we are studying the morosophers (‘foolosophers’), people with an evidently absurd theory about existence. Unlike the mediocre theories of New Age gurus, astrologers, ufologists and so on, morosophical studies are so queer that they cannot help acquiring a literary quality. Are atoms spaceships? Can the floor plan of the pyramid of Cheops be found in the street plan of ‘s-Hertogenbosch? Is the world entering the Lilac phase? Did abstract thought commence when the clitoris evolved from the inside to the outside?
As a rule, a morosopher is somebody whose world has been destroyed by a shocking event. With the help of his theory he constructs a new universe from the wreckage, for the sake not of a higher truth, but of an endurable existence. Unimpeded by any scientific knowledge, their imagination enables them to force their way through to the world of science and technology. From there they design a parallel universe in which the limits of the possible are sought out and transgressed; they enter the area of the wondrous and the monstrous, and discover a world that, like the world of the comic and the fairy-tale, is out of the reach of the physicists. Morosophy is science in wonderland.

Requirements:
A thirst for imaginary knowledge.

Objectives:
– you acquire a conscious pataphysical mindset (everyone being a pataphysicien by birth)
– you will be able to recognise the laws of the exception, the aberration
– you will see art from a different, pataphysical angle
– you will embrace the homo ludens in yourselves
– you will hate me

Work form:
Lectures on ’Pataphysics, stupidity, imaginary topography, Powerpoint-presentations, movies: but always interacting with the students, torturing them with questions to get to the core of ’Pataphysics inside of them.

Assessment:
Every day, each student will have to make notes and drawings or pataphysical schemes in a small booklet, which will be judged after the course. (A personal Handbook ’Pataphysics.) And everyone has to present a personal pataphysical answer (in text and image) to an impossible question during the course. I expect a full-time presentation, and 100% selfreflection, ha. In case of absence due to illness, dentistry and the like, the student has to make an additional contribution on paper.

Grading System: Numeric
Credits: 2 ECTS
Duration: 4 classes of 6 hours



Patterns of Ebb and Flow
Cocky Eek, Rachel Schuit
Mandatory for: Elective
Type: Exchange Course, physical

Course Content:
This week is an opportunity to experience working with the natural elements, while being part of the process and be challenged by their continual movement and change.
We’ll reside on the relatively young sandy strip of Almere Beach, along the IJ-Lake where we will specifically zoom in on – movements of sand –
Sand mediates in the liminal space between sea and land. It combines qualities of solid and liquid. Sand is both ancient and renewing. A simple storm across the beach clears all of yesterday’s traces, but a grain of sand may take eons to travel from rockformations to coastal sediment before ending up in your swimsuit and sandwich.
The interventions look for an immediacy of relating action to their environmental sources, which encourages diligent observation and accidental discovery. We will start working from a phenomenological approach to explore this specific landscape. We will do daily exercises to activate our listening body and to to open your ‘physical presence’. Test setups and prototypes are based on hands-on means of enquiry in the field and fully exposure to the elements. There will be 2 public lectures by archaeologist Dick Jager who will zoom in on the dynamics of geological/archeological layers of this place and one by Kees Hoogendam who will lead us in to the sound of soils (ceramics). The closing Friday afternoon our observations will be shared with a small audience. Documentation is an important part during the whole week.
This course is a collaboration with StrandLAB Almere; a set-up as a project, initiated by the city of Almere and the province of Flevoland, to accelerate cultural activity in the area around the ‘Almeerderstrand’ or Almere Beach. Important consideration is to always work with the intrinsic values of the area and to contribute to the place as an area for excitement and renewal. Through working with artists and researchers StrandLAB relates to the bigger questions of Almere as a new town and the region on new ‘polderland’: how do you build an Almere identity? how do you extend the cultural facilities and how do we make use of water and land in a sustainable way?
This exchange week is a 24/7 residence on site in Almere Beach, and needs your full-dedicated participation. We are there all the time, including sleeping, eating, working, and strolling around.

Requirements:
It’s mandatory to write a motivation, as the course is availabele for a limited amount of students.
Your own costs will include: your meals 9 we try to cook ourselves so we can keep the costs low), your travel costs: basically a two-way travel from The Hague to Almere, and the material costs you want to invest in this project. (StrandLAB Almere will arrange your lodging)
If you enroll for this course it is mandatory to come to the preparatory meeting: March, 16:15H in room PB301 at the KABK.
In this meeting we will provide more details about the location, the facilitations, the context of the project and how to prepare for the artistic work and documentation for this week.

Objectives:
To create artistic projects in the context of tidal movements in nature.

Work form:
Physical/sensory exercises, field-explorations and hands on prototyping, conversations with locals, documentation

Assessment:
Working without preconceived ideas. Presentation to a small audience, documentation during the process, writing a reflection.

Grading System: Pass/Fail
Credits: 2 ECTS
Duration: Prepatory meeting + 5 days working and sleeping on location



Practical Perfumery for Olfactory Art
Renske van Vroonhoven, Lauren Jetty
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
Practical Perfumery for Olfactory Art is a practically oriented class that aims to teach students about the making of scent, mainly focussing on artistic practice.
Although some fine fragrance methods will be covered, the aim of the class is to learn to apply scent in a more diverse context. As part of the course the students will be hosted at a perfumery lab in Arnhem for a few days during this course, where they can experiment with a vast array of materials to create a
final work.

Requirements:
It is not required but recommended that students have already taken the course The Other Senses.

Objectives:
– you will get to know the materials used in perfumery, both synthetic
and natural, and how these are extracted or created.
– you will have a knowledge of and experience with basic materials used in perfumery
and their application.
– you will understand the relationship between a smell and its context and be able to
avoid mistakes applying scent to contextual work.
– you will understand the basic principles of perfumery and lab safety.
– you will be able to write and read a fragrance formula and compound a fragrance
correctly.
– you will know which types of extraction methods a perfumer can use and what the
limitations of these methods are.
– you will start to form a mental olfactory library of scents.
– you will develop an olfactory project.
There will also be a small theoretical part of this class focusing on application of scent in art, to give some
context, but since “The Other Senses” covers this theory as well, we will assume a prior knowledge.

Work form:
Practica, projects, excursions, lectures, assignment

Assessment:
60% presentations.
20% attendance, assignments.
20% self-reflection.

Grading System: TBA
Credits: 4 ECTS
Duration: 8 classes of 6 hours



Pro Projection
Kasper van der Horst
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
The Pro Projection course is aimed at students who are planning to use some form of projection in their work.
Besides displaying computer- and video images, projection is often used to define a space or, for example, to enhance the meaning of an object in a space. In this very hands-on and practical course we’ll explore these aspects considering the projects or ideas that the students bring in individually.

Requirements:
none

Objectives:
– you will explore how different technical resources are best put to use and what impact that could have on the experience of the work. This might result in some radical alternatives to the original plan!
– you will try out and test a lot so that a high level of precision can be reached.
Hopefully in this way we’ll put the original ideas into an enriched perspective.

Work form:
There will be a daily group-evaluation of the work’s progress, get feedback on a daily basis and test in practice.
The first week we’ll work in the CAM rooms in the conservatory, second week we can build bigger sets in PB301 in the academy.

Assessment:
At the end of the second week we’ll present an overview of the works in PB301.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



Prototyping Decolonization in the Art-studio
Milton Almonacid, Darko Lagunas
Mandatory for: Elective
Type: Master Primer, online

Course Content:
According to Elizabeth Chin (2017), “there are few social spaces more unrelentingly white than the art and design studio”. This is a research and practice workshop challenges students to a) critically reflect on their practice within a colonial epistemology perspective, and b) challenges them to visualize and create an artwork/methodological prototype that emancipates (or decolonizes) whiteness of their practice and their curriculum. This workshop departs from the ‘why is my curriculum White?’ discourse.

Requirements:
Students need to do some desk-research beforehand in order to participate in the workshop

Objectives:
– you will be aware how colonial epistemology works
– you will be able to critically reflect on your own practice as an active agent within the colonial framework
– you will havel a (maybe) first prototype of a personal decolonial methodology

Work form:
The workshop takes four days and is given by philosopher Milton Almonacid and urban sociologist Darko Lagunas. Around the central question – ‘why my curriculum is White?’ – students are guided through the following program:
– Day 1: How colonial epistemology works?
Students present desk-research: ‘why is my curriculum white?’
If colonial society is structural, how does colonial epistemology work on my own identity, reasoning and practice?
What would art studio’s look like, and what would they create with non-white curricula? Why do we colonize the future?
– Day 2: Decolonial epistemology source of inspiration
Students choose inspirational artist/thinker/cultural artefact for their decolonial methodology design.
How design gps to navigate non-western epistemologies?
– Day 3: Visualization
How did my non-western ancestors make sense of the world?
What was their explanation about the Milky Way?
Historical and epistemological context in which [source of inspiration] was produced. And subsequently write/draw/build/create what you visualized.
– Day 4: Prototyping and presentations
Prototyping and presentations (assessment): design a art/method/protocols prototype from one’s own non-western epistemology.

Assessment:
Weighting is individual:
50% prototypes (10)
– is in itself a critique on colonial epistemology and the white arts curriculum (5)
– are self-communicative (5)
30% presentation (10)
– shows an understanding of colonial epistemology (3)
– shows a critical (self) reflection of art-practice within the colonial framework (2)
– explains how prototype reflects itself as a non-white, decolonial agent (2)
– students have to critically interrogate each others presentations (3)
20% attendance and participation (10)
– needs to attend all sessions (6)
– active participation and self-reflection (2)
open attitude (2)

Grading System: Pass/Fail
Credits: 2 ECTS
Duration: 4 classes of 6 hours



Quick and Dirty
Cocky Eek
Mandatory for: B1
Type: Standard Course, physical

Course Content:
In this course you will be dipped in a method of the making process. The making process by its own nature, offers many surprising, irrational, accidental possibilities that the mind simply cannot predict or imagine.
The class will explore this creative process as a dialogue between maker and matter in diverse mediated forms, in which matter can be interpreted broadly. We’ll do quick hands-on experiments and dirty prototyping, with the aim to train our skills of perception, to trust the process not-knowing, to learn to recognize when/where things get interesting, and to tap in the enormous potential that comes by working open-ended.
You will work on an individual base as well in duo’s and groups. Documentation will be helpful tool in the making process.
No Matter – Try Again – Fail Again – Fail Better, Samuel Beckett

Requirements:
none

Objectives:
Learning how to master quick artistic sketching methodologies.

Work form:
Hands-on (no-head)

Assessment:
Presentations, active participation.

Grading System: Pass/Fail
Credits: 2 ECTS
Duration: 4 classes of 6 hours



RecPlay
Robert Pravda, Kasper van der Horst
Mandatory for: Elective
Type: Weekly Course, online

Course Content:
Since 2001, RecPlay is the ArtScience improvisation ensemble. Some od the research topics that are addressed in RecPlay are multi-layer interfaces, improvisation structures, noise art, feedback in image and sound, realtime composition systems, spatiall compositions and interaction with architectural elements. Its practical focus wll be on developing improvisations and on developing ensemble playing by using conventional and unconventional instruments.
It is possible to join RecPlay in the first and/or in the second semester.

Requirements:
none

Objectives:
To learn how to work in an audiovisualiomprovisation ensemble

Work form:
Weekly meetings and jam sessions.

Assessment:
Attendance and participation.

Grading System: Pass/Fail
Credits: 4 ECTS (per semester)
Duration: DURATION



Redeconstruct Media
Kasper van der Horst, Nenad Popov
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
In a number of steps, we aim to look a bit into the phenomena of fragmented media. We will look into ways of deconstructing ideas into smaller fragments, or constructing larger structures out of smaller pieces all the while trying to keep the original knowledge(idea) present as long as possible. “Ecological thinking” – we look at the artwork as an ecosystem of ideas: we try to think and find out in which way the fragments interact with each other. During the course, we like to look at media in the broadest (metamedia) sense – for example text, literature, data, music scores, dna, wikipedia articles, pixels, artworks, social interaction, audio and video can all be your point of interest.
A positive artifact of this method is that it helps in cases when we are stuck: it helps find interesting points in an unfinished work, partial idea, and have them mutate into a new work.
The course itself consists of many small self-contained exercises focused on simple outcomes, which can be applied to personal projects that are stuck or moving too slow.

Requirements:
none

Objectives:
You will be able to find interesting points in an unfinished work, partial idea, and have them mutate into a new work

Work form:
The course consists of a series of simple exercises, starting with the art of abbreviation, gently crossing the media boundaries and then getting into more or less speculative reconstruction methods of media (veracious or manupilative: redeconstruct). We also look into how the meaning mutates when the artwork passes through multiple minds.
Our objective is to design individual systems, and because we can also design these systems in an artistic way, that is where we will focus on.

Assessment:
At the end of this two week’s course we ‘ll ask you to present your system in the format of a work or to present a conclusion of how your system works.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



SoundWorlds 1
Robert Pravda, Milica Ilić
Mandatory for: B1
Type: Standard Course, physical/online

Course Content:
The goal of this course is to introduce the theory and practice of working with sound.
The theoretical part will cover:
– Basic parameters of sound, such as the concepts of sound as change of pressure through the air, waveform and harmonic spectrum of te sound, wavelenght, aplitude, frequency and perception of pitch and loudness. Also we eill discuss the basics of analog sound, digital sound, sythesis basics (additive, substractive sythesis, Frequency modulation) and MIDI
– An introduction to the basics of musical dramaturgy, or “how to organize sound” – historical overview, explaining & exploring different musical tools and their practical use with the goal of expanding the palette of means that can be used in artistic work which includes music/sound

Requirements:
none

Objectives:
Gaining fundamental insight in the workings of music and sound.

Work form:
During the course we will listen to pieces from important composers and discuss them We will discuss examples of noise music, musique concrète, soundscapes, electronic music, sound-plays and field recordings but lso oter types of music in order to see how musical systems work.

Assessment:
Attendance 88%, assignment 100%

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



SoundWorlds 2
Robert Pravda
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
SoundWorlds 2 is a hands-on course. During the course te focus will be on developping individual performative or instalation pieces. All participants are required to have a basic knowledge of working with sound and starting idea of a project or direction that they want to work on.
As much as we experience our environment visually, we also have an ability to sense our environment through listening. We sense the spatial attributes through hearing as something parallel to our visual perception. What we hear is a complex mixture of the surrounding sound with its reflections, dispersion, refaction and absobtion, all determined by the specific (unique) acoustic character of the space. While listening we react both to the sources and to spatial acoustics.

Requirements:
Rounded up SoundWorlds 1 introduction course.

Objectives:
You will gain more advance knowledge in the workings of sound in its environment.

Work form:
In the two weeks of the course, we will build upon individual ideas, with emphasis on research in materials and techniques for development and hands-on experiments in; how to approach sound organisatioan for a multichannel sound reproduction, a live performance setup, or a sound installatioan based on individual artistic ideas of the participants.

Assessment:
Attendance 86%, assignment 100%

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



Spacious: The Architectural Body (SpaceTime 2)
Renske Maria van Dam
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
In this course we study the work of artist and philosopher turned architects Shusaku Arakawa and Madeleine Gins (hereafter A+G). In two weeks you will develop a practical as well as theoretical understanding of their approach to ArtScience.
To study The Architectural Body; the crucial bodily dimension that gives way to the emergence of our spatiotemporal experience, A+G developed a specific form of ArtScience that they refer to as ‘coordionology’ and ‘biotopology’. In this form of ArtScience architecture is used as a creative tool to figure ourselves out and construct ourselves differently. To further their philosophical implication’s and its impact on human life they designed architecture as so-called procedural tools. Their working system is based on observational, transformational and re-configurative procedurals to construct life. Procedural architecture offers process-oriented speculations to the way our moving bodies and environment mutually form and extend each other. A functional tool, whether it be a hammer, a telephone, or a telescope, extends the senses, but procedural architecture examines and reorders the sensorium. New meaning and actual habitual changes emerge from which alternative experiences inevitably form.
In this course we favour thinking through action and experimentation. Departing from A+G’s artistic work ‘The Mechanism of Meaning’ and their book ‘the Architectural body’ we examine and reorder the sensorium ourselves by means of minor artistic interventions.

Requirements:
– Motivation to work and think spatially
– This course is a continuation of 2019/2020’s course on the architectural body. It helps when you have followed the previous course, but this is not mandatory as a summary of last year will be provided at the first day of the course

Objectives:
– you will learn to examine and reorder the sensorium by means of minor interventions
– you will be inspired by the basics of A+G’s practice and philosophy
– you will know how to enact philosophy as creative practice in its own right (create concepts in and through the event)
– you will know how to exploit spatial interventions as the ArtScience of Life (Biotopology)
– you will know how to exploit spatial interventions as the ArtScience of moving bodies (Coordionology)
– you will know how to set parameters that allow for the expansion of human possibilities by means of spatiotemporal interventions (Reverse Destiny)

Work form:
We will shift focus between:
Collectively study the artistic as wel as philosophical body of work by A+G by means of close reading, attending lectures and watching videos.
Activation of the above-mentioned material by means of movement practice and free artistic experimentation

Assessment:
At the last day of the course the students are asked to present a minor intervention that:
– is in line with the procedures from A+G, extends and reorders the sensorium.
– is framed by a self-created concept
Individual or in groups of max. 3 students

Grading System: Pass/Fail
Credits: 4 ECTS (per semester)
Duration: 8 classes of 6 hours



Spacious: Tiny Perceptions (SpaceTime 1)
Renske Maria van Dam. Guest Teachers: Kenzo Kusuda and Alexander Johannes Heil
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
Current developments in contemporary sciences sparks a general willingness to re-entertain questions on perception, experience and even consciousness. What is particularly interesting in these new sciences is the enactive-embodied- embedded- extended and affective (4ea) approach to cognition. In this course we explore what this means for the experience and creation of spatial installations. Guided by motivating questions such as ‘How do we respond to particular materials, textures, sounds and movements?’ or ‘How does walking diagonally differ from walking a straight line?’ we explore how to transform from working and thinking in/on objects to (spatial) experience.
This course forms the fundaments of SPACIOUS, the practice-based research trajectory that explores the reciprocal relationship between organism and environment by means of tiny perceptions to reconsider habit(at)s in which space and time, mind and body, theory and practice have too long been considered as distinct and abstract notions. The course is set up as a research-atelier; the afternoon program consists of collective lectures, reading and workshops. In the evening we work collaboratively on a creative research project ‘walking through doors causes forgetting’.
We will closely collaborate with students of the master INSIDE on two days of this course

Requirements:
– Motivation to work and think spatially
– It is possible to join this course for multiple years to develop a long-term practice-based research

Objectives:
– you will understand the basic modes of spatiotemporal perception
– you will have improved to think and work spatially
– you will become familiar with the exploitation of tiny perceptions as research methodology

Work form:
We will shift focus between:
– lectures/close reading
– movement practice and experimentation focused on tiny perceptions
– working on a personal project (see assessment)

Assessment:
Set up and execute a practice-based research that:
– questions a spatiotemporal phenomenon in relation to the theme ‘walking through doors causes forgetting’.
– involves a focus on tiny perceptions as research methodology
– is presented by means of a mini- exhibition that includes a spatiotemporal experience, curated documentation of the experimentation process as well as a written statement or reflection
Presentation of the assessment will take place collectively at the last day of the course.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours


Spectra: Space as Organism
Andrea Božić and Julia Willms
Mandatory for: Elective
Type: Exchange Course, physical

Course Content:
In this in-disciplinary workshop we will approach space as performative and as an organism. We will explore a combination of live performance, cinematic/virtual and architectural space merging them into one layered hybrid space in their overlap, a merger between the physical, imaginal and virtual.
The students will work in small collaborative groups exploring performative and audio-visual installative spatial set ups, departing from the idea that every performance, time based or spatial art work (and even every situation) is based on a performative setup, that a performative set up is a carrier of the concept in practical form, that each performative set up generates a set of relations with the spectator, a particular mode of spectatorship and an engagement with the environment.
We will look at the development of dramaturgy, how a work works depending on its placement in space and time. We will work through a combination of making, presenting and feedback discussion. We will give some examples of set-ups from our own work and works by other artists.
The students are asked to bring their own audio-visual digital devices that they normally use in their artistic practice.
Full participation in the workshop is requested, as each day will build on the previous.
Keywords: in-disciplinary, porous space, performance, live art, performative space, choreography of space, gaze and attention, space as an organism, audio-visual installation, architectural intervention, installation as a performance.
Requirements:
none

Objectives:
– conceptionialising and practical development of performative set-ups and their mechanisms
– dramaturgical devices in live performance and installation works
– collaborative group work in practise and reflection
– reflection of modes of spectatorship implied in the work

Work form:
– introduction of the conceptual framework, vocabulary and examples
– collaborative small working groups
– several rounds of working on artistic set-ups using their own audio-visual digital devices that the students normally use in their artistic practice
– presentation and try-out of the set-up to/with the rest of the group
– feedback, reflection
– selecting and identifying the most interesting key objectives within the set up

Assessment:
The students pass due to their attendance in their collaborative group, engagements with the assignments, presentations, feedback and reflection.

Grading System: Pass/Fail
Credits: 2 ECTS
Duration: 4 classes of 6 hours


System(s) Interventions
Marion Tränkle and guest lecturers
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
We are living in a world of systems and the coronavirus pandemic has shown how interrelated they are. The speed and scope in which the virus has affected our globalized world is remarkable. The most effective tool to delay its spread appears to be a simple movement rule: stay apart.
In this workshop we treat the 1.5m distance rule as a “system under test”, dealing with it locally, and reflecting its performance in practice globally. Its actuality serves as an entrance point into systems thinking, the observation of systems in daily life, and ways to artistically intervene in a system.

Requirements:
none

Objectives:
– gain basic theoretical knowledge about the basic operating units of systems
– identify and observe the operation of systems in daily life
– use system thinking as a method to drive artistic experimentation
– find ways to intervene in a system

Work form:
Students work both collectively and individually on a set of assignments (Guest)lectures complement the program.

Assessment:
Attendance and active participation in group process. Self-study and presentations.
50% attendance, participation in group process.
50% self-study, presentations and individual contribution.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



The Other Senses
Caro Verbeek, several guest teachers
Mandatory for: B1
Type: Standard Course, physical

Course Content:
The senses of smell, taste, touch and proprioception are powerful tools for engaging an audience in an intimate and often interactive way. They require little knowledge and they are strong inducers of vivid memories.
Whereas sound and vision always gained a lot of academic attention, the so called ‘lower’ senses only recently (re-)entered the artistic debate. The ArtScience Interfaculty, formerly known as the Institute for Image and Sound, underlines the importance of those other senses that go beyond our traditional occularcentric approach.
This course is about creating awareness and understanding of the role of the ‘other’ senses – smell, touch and taste – in (history of) art, education and science.
For they are not as divided as we assume, the correlation between the senses will also be addressed (synaesthesia).
Due to their animalistic nature important thinkers like Plato, and later on Kant and Hegel excluded the lower senses from the aesthetic debate. As a counter reaction famous artists like Marinetti and Duchamp and composers such as Scriabin incorporated olfactory and tactile dimensions to their work. Unfortunatly this quite volatile heritage was partially lost due to its fleeting nature and the impossibility of registering and preserving smells, tastes and tactile experiences. Museums and other institutes that address vision, have always been primed to collect and conserve. That is why many tactile and olfactory works of art never made it into written history. Anthropologists, art historians and other academics are now working on a reconstruction.
During classes students will encounter sensory art historical reconstructions to stimulate debate on the senses and as an inspiration to create small olfactory and tactile compositions. A colour-smell synaesthesia test will be executed on the first and the last day of the course.
Furthermore there will be a linguistic translation of a Futurist tactile poem, and an olfactory-musical recital composed by Scriabin.

Requirements:
none

Objectives:
– you will have general knowledge and understanding of the role of the other senses in history of art
– you will have an increased sensory vocabulary
– you will be able to use other senses more analytically and discern between them better (even become of aware of previously unknown senses)
– you will be well equipped to start using more senses in your art practice and daily life in a meaningful way/ you will be able to engage an audience by triggering their senses

Work form:
– lectures with an interactive character (in which you sense sensory replicas)
– small assignments such as creating smell maps and tactile poems
– a smell-color synaesthesia test
– small sensory experiments in which you analytically study your own perception, guided by a set of questions by the teacher
– reading assignments and discussing articles
– socratic discussions among yourselves and with the teacher
– a joint multi-sensory performance in the end and an evaluation of the course and your own progress

Assessment:
– overall engagement and participations in discussions, reading of articles and presence (4 out of 4) (20%)
– execution of smell maps and tactile poem and presentation thereof (technically, by means of content, and effect, verbalization of what he/ she did and why (first 2 days, 20%)
– their role in the multi-sensory performance (did the student step out of his/ her comfort zone?/ how was his or her sensory input related to the whole?)/ can he or she verbalize his or her intentions afterwards? (final day, 30 %)
– self-reflection/ the student’s own insight in his or her improvement/ development. Did the student learn new things? Can he or she reflect on what he or she learned (oral examination after the performance) (final day, 20%).

Grading System: Numeric
Credits: 2 ECTS
Duration: 4 classes of 6 hours



What to Sonify When Lending an Ear to an Event?
Willem van Weelden
Mandatory for: Elective
Type: Master Primer Course, physical

Course Content:
‘WHAT TO SONIFY WHEN LENDING AN EAR TO AN EVENT? excursions in the “inaudible”, the timbre of the sublime, and the immaterial matter of “postmodern music”’
The seminar and workshop will be based in the aesthetic theory of Jean-Francois Lyotard especially concerning music. His theoretical approach will be used in the analysis of musical compositions of the sixties and the seventies (Stockhausen, Berio, Schat, Cage). The delivered input (8 lectures) and study and analysis will be the basis for an assignment to develop an interactive sound work, that will be presented at the close of the seminar.

Requirements:
Prior to these weeks the students are asked to read a few texts that will be send as preparation to the seminar weeks; and it also comprises some listening assignments. (e.g. ‘The Inaudible, Music and Postmodernity’ (1991) by Jean-Francois Lyotard, and Ashley Woodward’s comment on this text (2014))

Objectives:
– learning how to use philosophical approaches to develop an artistic concept: creation of an aesthetic answer (interactive sonic installation) to a philosophical problem
– understanding of the philosophy of the event (Lyotard, Deleuze)
– understanding of the philosophy of unrepresentability (inaudibility)
– rendering all input into a concept for an interactive work
– analysing and contextualizing Lyotard’s work in our current media landscape and practice

Work form:
The Students work individually on a project, that will be presented at the end of the 2 weeks.
Self-study and lectures complement the program.

Assessment:
Attendance, active participation in group process, and individual contribution to the production and online documentation of the work.
60% attendance, participation in group process.
20% participation and performance during the Open Day.
20% individual contribution.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



Why Look at Animals?
Cocky Eek, guest teachers: Renske Maria van Dam (architect and former zoo-keeper) and Kenzo Kusuda (dancer, improviser)
Mandatory for: Elective
Type: Standard Course, physical

Course Content:
Animals differ from man. They are both like and unlike. In this course we will work in Artis zoo in Amsterdam. Animals can offer a key in opening a gate. Until the 19th century, anthropomorphism was integral to the relation between man and animal. In the last centuries, animals have gradually disappeared. Today we live separated from many of them. Yet our customary sensory order is not solitude; it coexists with other orders. We think and operate differently in the presence of animals. How can we extend our sensitive and cognitive capacities by means of synthesizing and sharing perspectives with Artis’ inhabitants?
In this course you will be guided by one of Artis’ non-human inhabitants, to explore different ways of knowing and sharing. Through an unfolding creative process we will work towards the creation of a polyphonic performative work. This work will be shared with a wider audience and hosted by FoAM Amsterdam and Zone2 Source in the context of the Machine Wilderness program: artistic research in Artis.
The title of his course has been appropriated from John Berger’s little book “Why look at Animals? “
Important your own costs for this course include;
4 days travel to Artis Zoo in Amsterdam plus one performative-presentation day in Amsterdam for the audience.

Requirements:
none

Objectives:
– you have widened your sensory and cognitive perception
– you are able to take your stand in the midst of a polyphonic rhytm
– you have opened a new question

Work form:
Hands-on prototyping, physical/sensory exercises, building, performing.

Assessment:
Presentation in the form of a collective performative work for an audience, documentation during the process and small written reflection.

Grading System: Pass/Fail
Credits: 4 ECTS
Duration: 8 classes of 6 hours



Writing as/in Research
Maya Rasker
Mandatory for: Elective
Type: Master Primer Course, physical

Course Content:
To write means to allow ideas to come into being, which is why so many fear the act of writing: once written, your thoughts become a reality of their own. During the workshop Writing as / in Research we will investigate what writing means as an act of discovering and unravelling, rather than to fix embryonal thinking.
Point of departure is you: a creative creature that oscillates between who you are, what you do, and where you are heading. Through a systematic analysis of the creative research process you will discover how different writing techniques support and enhance your personal search for artistic growth, independent of you medium or main artistic interest.
Language is our material, which means you will do a lot of hand writing, reading out, listening and taking notes. We will work with prose, poetry, letter writing, essayism and other genres. The use of pen or pencil and paper (notebook) is obligatory. No laptops allowed in the classroom.

Requirements:
none

Objectives:
– you know how to overcome the fear of ‘beginning’ and to start writing
– you have an idea how to use verious writing techniques, depending on your creative process
– you understand what tools to use for text analysis – either your own or someone elses
– you have written in different genres, registers, and styles

Work form:
Classroom lectures and in-class (writing) assignments; take home writing assignments.

Assessment:
In-class writing assignments.
Take-home writing assignments.
Texts (by writers and theorists) to be read, analysed and reflected upon.
An end text, to be presented in class.
80% Class attendence is obligatory. All writing assignments are to be gathered in a portfolio. End text and presentation is obligatory.

Grading System: Pass/Fail
Credits: 4 ECTS (per semester)
Duration: 8 casses of 6 hours