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Originally, music choreography works of rhythm are closely tied to music and seek the most comprehensive possible transfer of all musical parameters into spatio-temporal as well as dynamic correspondences. Following the boundary-expanding developments in music and dance from the 1960s onwards, other intermedial forms of reference have become conceivable. Dorothea Weise breaks these down exemplarily and presents a system (to be questioned critically and thought through further).
The transmission of musical processes via corresponding movement sequences can be seen as the foundation of Dalcroze Eurhythmics. Accordingly, the sensibility for rhythm and its inherent interplay of tension and relaxation in space and time is significant for the embodied visualisation of music. For creating wider aesthetic experiences and confrontation with the rhythmical structures of music and other artistic expressions—such as visual arts and literature—it can be helpful to take a look at other concepts of rhythm. Recent theories about rhythm from the music theorists Steffen A. Schmidt and Christopher Hasty, as well as the philosophical thoughts about speech from Ludwig Wittgenstein, described as «Saying and Showing», open up additional structures that may enrich the process of artistic creation and performance in eurhythmics.
Choreomusical work opens a world of images and signs beyond language. The expressiveness of what is heard and seen merges with the tacit-knowing-view of the viewer and the listener.
Meaningful resonances and processes of understanding develop along the structure of the work and within the individual construct of implicit and explicit knowledge of the audience. In this process, perception plays a major role. Aside from the obvious processing of acoustic and
visual stimuli, this paper will look at the role of proprioception, especially the kinaesthetic sense, with regard to its role as intermediary and creator in the process of perception.
Jumping over one's own shadow and expanding boundaries are frequent demands in the field of music and movement through the special methodological possibilities of eurhythmics. This is true for the learners as well as for the teachers. With a view to the concept of perception of constructivism, it is first clarified why perceptions are always individual and bound to subjective experiences. Then the ‘Gegen-Stand’ comes into play as a surface of friction and a basis for an active and reflective engagement that is capable of producing new results.
DRAFTS#3
(2022)
DRAFTS#3 invited more than 80 designers, design researchers, and design students to discuss the role of artifacts in research and design activities within disciplines such as fashion, textile, and interaction design through the means of two exhibitions and one symposium.
A cooperation between the Swedish School of Textiles – University of Borås and designtransfer – UdK Berlin.
Marianne Steffen-Wittek initially concentrates on theoretical concepts of rhythm with special reference to texts by the founder of eurhythmics Émile Jaques-Dalcroze, and corresponding writings by Henrietta Rosenstrauch. As music educators, their writings provide a deep insight into the analysis of difficulties in the realisation of rhythms and ways to overcome them. The following selection of current theoretical concepts of eurhythmics in Germany shows in particular an intensified view of the connection between perception and movement and its (still to be further researched) effects on pedagogical and artistic activity. Rhythm theory and research in rock, pop, jazz and groove-based music is a relatively young field. In her remarks on groove and swing in jazz music, Steffen-Wittek refers to Mark Russell Doffman, whose embodied concepts can be important material for jazz-oriented rhythm teaching. She develops practical examples and connects them with the complex theoretical concept of eurhythmics by Holmrike Oesterhelt-Leiser.
Understanding dance as a sensory and mentally grounded organisation of movement is at the core of Stephanie Schroedter's reflections. Of particular interest is the “muscle” or “movement” sense, which Émile Jaques-Dalcroze already insisted upon with great clairvoyance to train the transformation of sounds into spatio-temporal and dynamic nuanced, “plastic” movement creations. Against this backdrop Schroedter traces the “discovery” of our kinaesthesia back to its beginnings – as a sense responsible for the perception of one’s own movements, but also for self-perception based on movements. Subsequently, from a phenomenological perspective, the concept of a “kinaesthetic hearing” is established as an immediate interweaving of auditory perception with (visible or imaginary) movements.
Ideathek
(2021)
What does the digitization and mediatization of space mean for our physical and virtual knowledge spaces. How can architectural and interface design promote innovation and creativity through their spatial configurations and protocols? Which new approaches need to be deployed so that complexity is created instead of reduced?
Im Rahmen der TURN Konferenz `23 stellte das InKüLe Team mediendidaktische Vermittlungsformen für eine nachhaltige Implementierung von immersiv-medialen Lernumgebungen an einer Kunstuniversität zur Diskussion. Hierzu wurden das technologische VR-Toolkit und das ‚sessions_vr‘ Lehrformat, welches prozess- und erfahrungsorientiert die interdisziplinäre Zusammenarbeit von Studierenden mit immersiven Medien eröffnete, vorgestellt.
‚sessions_vr‘ wurde im Sommer Semester 2023 als Workshop-Reihe mit verschiedenen thematischen Schwerpunkten angeboten. Teilnehmende erhielten Einführungen in innovative Tools und Plattformen, wie zum Beispiel die VR-Sketching-App Gravity Sketch, und hatten die Möglichkeit im Gestaltungsprozess sich transdisziplinär auszutauschen. Durch ein offenes Format zur Erkundung von VR wurden die Teilnehmenden befähigt, die vorgestellten experimentellen Formate weiterzuentwickeln oder selbst zu initiieren. Gleichzeitig erlaubte ‚sessions_vr‘ die kritische Reflexion von Lehr- und Lernkulturen durch die Befähigung von direktem Feedback und dessen Umsetzung in neuen Workshops.
Ziel ist die Schaffung einer offenen Lernumgebung, in der das spielerische Experiment und erfahrungsbasiertes Lernen im Mittelpunkt stehen, und worin kollektive und kritische Wissensproduktion gefördert werden kann. In einer zweiten Projektphase im Winter Semester 2023 sollen die Ergebnisse in Form eines mediendidaktisch reflektierten VR-Toolkits dokumentiert werden, um so den Unterricht von VR-Technologien an verschiedenen Hochschulen und in anderen Bildungskontexten unterstützen zu können. Als Teil der TURN Konferenz wurden die ersten ‚sessions_vr‘ Ergebnisse präsentiert und kritische Reflexionen durch ein größeres und transdisziplinäres Fachpublikum weiter befragt.
Hybrid conferences and events are becoming the norm and even after the pandemic, a majority of students are asking for hybrid education as a permanent format at universities. In parallel, hybrid learning, which allows participants to connect on-site or digitally, means greater logistical and cognitive effort for educators, as well as active, participatory support by students. In the wake of these newly emerging learning cultures, it is vital to design them sustainably and critically reflect their impact. In this workshop, participants are invited to co-design future learning artefacts and practices. The workshop is conceived as a playful participatory design format in which the relationship between technology, pedagogy and future skills will be reflected and translated into provocative future artifacts. Whether your interest lies in emerging technologies, education, future design or sustainability, your views and expertise are welcome. This workshop is framed within the overarching question of "how hybrid learning spaces can be designed sustainably?" and within the larger context of the third-party funded project "InKüLe - Innovationen für die Künstlerische Lehre" at the UdK Berlin. The project InKüLe aims to develop and implement digital/hybrid forms of education using emerging technologies as well as interdisciplinary teaching and learning formats, as well as critically reflect their impact. The workshop results, therefore, contribute to the extensive discourse of the UdK Berlin and its university network of the Stiftung Innovation in der Hochschullehre.