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This article reports findings from a one-month design research project in which four textile and fashion designers engaged in collaborative exploration of technical and artistic knowledge inherent in folds and folding. They experimented with textile technologies and construction methods to design, fabricate and analyze three-dimensional dynamic materiality in electronic textiles (e-textiles). The focus was on sensor structures achieved by knitting, weaving, pleating and coating techniques. The analysis of measurements of electrical resistance between one and 36 sensing areas per sample demonstrate the added value of folds integrated into textile sensor structures. The authors discuss types of folding and their aesthetic, textural and sensorial advantages. Detailed information on design, fabrication and experimental results is provided in supplementary materials to the article.
On Figures and Pointclouds: An exploration of 3D scanning through process-driven creative research
(2022)
This article traces creative research on 3D scanning, that we – Maria Kyrou in collaboration with Jiawen Wang (Student Assistant, study program Art & Media) – developed in the context of the InKüLe Project (UdK Berlin) during the winter semester 2022-23. Following an associative and process-oriented approach, we pursued a creative exploration of 3D scanning, while illuminating both conceptual and technical aspects. This case study had a double scope: to experiment with the possibilities of different 3D scanning workflows for the creation of hybrid artistic formats and to reflect on ways of relating to emerging digital media, in order to facilitate their critical integration into a learning process for students and educators alike. 3D scanning serves thereby as a ‘Leitmotif’ for a broader inquiry on how mediators may learn.
Our project focused on the 3D capture of human figures, creating an interplay between scanning method and captured form. As an experimental exploration, the results of 3D scanning were interpreted through intuitive associations stemming from different art fields and visual media. Exploring both static and dynamic forms of 3D capture, the idea of movement became central as the creative process unfolded. Considered from the perspective of experimental media didactics, the article concludes with the definition of two pairs of qualities, which were central in its development and relation to emerging digital media.
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.
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.
Abstract. This study compares performance of different speech com-
mand classification systems which can be executed on an Raspberry
Pi Zero ARMv6 architecture. Three systems are evaluated: first one,
TREELITE_MFCC, is based on Treelite system cross-compiles a MFCC-
classifying Random Forest into a highly optimized shared library; second,
TFLITE_MFCC, performs classification of MFCC inputs by means of
convolutional neural network encoded as a lightweight TensorFlow Lite
model while the third one - labeled as TFLITE_RAW - uses more com-
plex network to directly classify the audio signal. We evaluate models
not only in terms of their accuracy and precision, but also in terms of
execution time, voltage, current and energy consumed. We observe that
while TFLITE_RAW offers superior performance in terms of accuracy,
TREELITE_RAW is also worth of consideration for low-latency real-
life applications since it offers relatively good performance (avg. micro-
precision=0.917) but its predictions, when executed on Raspberry Pi
Zero, are significantly faster and cost less energy than TensorFlow Lite
models.
Digital education: ”education-with” / ”education-about” distinction and the teleological definition
(2020)
Despite being an object of multi-billion public policies and private sector initiatives, the term ”digital education” seems to lack a clear, unambigous, lexicon-ready definition. A closer analysis reveals that in common parlance, the term is used to denote phenomena related to overlapping but distinct topics like ”technology”, ”media” or ”informatics”. Such polysemy implies an overall lack of
clarity which a public debate about education policies should rather avoid. For this reason, we propose to start sorting things out by defining the term ”digital education” in terms of dichotomy of two subordinated concepts, which we label as ”education-about-digital” and ”education-with-digital”. Postulation of this dichotomy combined with analysis of "school's mission" as defined in the legal codices of Land Berlin naturally leads to ”teleological definition” which delimits the concept of digital education in terms of its ideal human result.