In this book project "Speichern Unter…" (Save as…) I made a collection of data from the internet. I downloaded all the data about my person, analysed it and checked its value. The book referres to current happenings on the internet, how internet-companies deal with personal data and how frivolous people abondon their privacy. I contacted all the companies that could possibly have any data of mine. The book shows what can't be seen on the internet.
Book, DIN A4
Dynamic Reflection Continuum
Concept and design for the release of Continuum by Dynamic Reflection.
Contrast is a regular event by annabel in Rotterdam. The ongoing series of posters that present the event is printed with contrasting CMYK only colors. This series of events presents a new, contrasting facet of annabel’s standard program. The first two editions are already done – more to come.
Made in collaboration with Zalán Szakács
Upsetting Settings presents graduation projects initiated by Alexander Roidl, Alice Strete, Angeliki Diakrousi, Joca van der Horst, Natasha Berting, and Zalán Szakács. The concept of this exhibition arises from the idea of the default setting, a situation in which a specific mode of interaction is selected automatically, pre-configured to work out of the box without the need to tinker with its underlying apparatus. Every system comes with default settings predefined by its creators, and most of the time, these settings remain unchanged by us, the users of such systems. These defaults do not represent our needs but are possibly the materialisation of biases from the system's makers, from corporate or political interests, from a society at large. The projects engage with the concept of default modes and propose interventions in their core structure/source/root so as to start thinking collectively about better places from which to begin. You are invited to become root users, active listeners, smart speakers, intentional eaters, counter trolls, sensorial spectators!
How does the database look like? In order to see the database you need to give form to it. I printed a collection of books from a zotero database (a program for making collections and references). The book is a dump of all(?) the data in the database using the zotero api and python with reportlab. So the database converts to pdf in one go through python. This print is questioning the shape of databases and how the datastructure can or can not convert into a narrative. Is this book readable, if not, is it a book? This is part of an ongoing reseach on digital structures and databases.
An interactive application to show times of the different places where the agency Anomaly is located. www.anomalytime.com
China; country in asia.
Things mean the world.
Made in china is cheap.
A book about porcellain and the value of objects in times of made in china. It’s a critical reflection on how people put value upon things – or not and how mass production influences our perception of objects. To reflect this the book shows very cheap, daily objects that seem like they are made of porcellain, but in reality are worth not even 2 dollars. The objects are presented and photographed in a way, that makes them seem more valuable. To strengthen that effect the book is completely printed with white color on black paper.
Book, 190 x 280mm
printed white on black paper with Indigo
rr dialogues is an interactive research project by Rotative Reseach that connects different approaches on one specific topic: the relationship between intention and result within the process of urban transformation that constantly reshapes our cities.
The website features a rotative selector that shows articles that are connected in dialogues. The dialogues are shown in a split-screen view that allows for comparative / simultaneous reading.
Built with wordpress as a backend and D3js in the frontend.
New tools for new design
How do tools influence design and the way we create? And how can we build new tools in order to create new design, in the mean of process as well as result? This are the questions I try to answer with my bachelor thesis. In an experimental approach I created new tools and designed with them and analysed the influence the tool had on the way I created and on the result. I built 16 tools and with them I created posters, grids, websites, typography, graphics… Some tools are programmed,some are remixes (like a synthsizer I used to create graphics) and some are missused (snapchat for posters). All that is collected in a book – »New tools for new design«.
Thesis in form of:
Book, 145 × 210mm
as well as, a collection of digital design tools, that can be found here: New Tools
XPPL is a space for potential pirate librarianship. It is both an experiment and a working prototype for a distributed
network catalogue and library that you can run and install on several machines and share/synchronise with
the same bibliographical database. It starts at XPUB, but can go anywhere we want it to.
Initially developed as a in-house tool for the XPUB course, XPPL is a project aimed at people who are studying
within and outside formal education, or as we like to call them: knowledge comrades. XPPL provides a web interface
and hosts a curated catalogue of books and articles. Its distributed architecture is open to instances of
uploading and downloading, and allows for the collective editing of its content. In XPPL, librarians can add, and
modify small collections of books that are connected by threads of thought, or follow a certain thematic or study
path. We call these selections ‘stacks’. Rather than a bookshelf in a library, where books are lined up and often
forgotten, the stacks on your table/nightstand/bathroom floor consist of books prone to be opened and reopened
at any time. The stacks in XPPL are visible for others in the network to browse, annotate, update or shuffle.
Next to the stacks, XPPL exists as a distributed bibliographical database upon which various modes of reading
and writing interfaces can be created. In its current version, the XPPL search interface allows for serendipity,
while playful bots point to the invisible labour of librarianship and gaps in the collection are made visible, turning
dormancy into potential. Furthermore, collective annotations turn the digital library into a social space; and visualizations
of the collection in 3D forms allow users to sense the materiality of their books.
The XPPL is also a project of urgency. Today, the gradual loss of public libraries, the rise of corporate academia,
and the systemic use of digital rights management, make access to knowledge increasingly difficult. As a result,
and despite significant efforts from free culture supporters and open access initiatives, media piracy has became
an unspoken practice that cannot be decoupled from the acts of researching, reading and studying. However, this
practice is often fragmented, and splintered by way of legal and economic barriers. We recommend books in person,
jot down reading lists on paper, then send unsteady links via email or download already known items from
the haystack of existing repositories.
Most importantly, under these circumstances, such practice is reduced to the act of file sharing, and fails to highlight
the discursive nature of these exchanges, their ability to form new resources, to nurture collective forms of
learning and an active research culture. In response, XPPL is a platform and network that offers another way to
think about, aggregate and intervene in these processes.
Poster Series made for a remix event of students at the Richard-Wagner-Museum
Press play to play
Remix: to make something new out of existing parts. In the 21. century we are all surrounded by digital devices. With this exhibition my college Dominik Meixner and I created an interactive installation to celebrate the analog device in times of micro-controllers and smartphones. The aura of the analog gives a very unique flair to the installation. We use the idea of sampling, so we took existing music and recorded it on tape loops we built. The visitor could change tapes and play and stop music, vary volume or speed. So the visitors could create hundreds of new compositions.
Installation, 3 × 1,5m
Oktober, 2016 – May, 2017
Software has taken command of our daily life. It is omnipresent and most of our Western society would come to a halt without it. At the same time software has become so ordinary, that it is often overlooked. Software is taken for granted while it is increasingly entangled in our life and continuously adopts new tasks. Our computers seem to become smarter through new kinds of algorithms. This leads to new challenges in understanding software – not only from a scientific point of view but also from a cultural, political and social perspective. Software has also found its way into the art and vice versa, but there are still gaps in the relation between the two. I assume that the interaction between software and art can be productive and helpful for the research in both of the disciplines. The question that I am asking is: How can artistic methods be used to elicit critical reflection on software as a cultural object beyond the interface? The current perception and use of software are significant parts of this research, especially in contrast to the original culture around software, that included hacking and that required every artist to write their own software. This publication explores the multiple layers of software with a particular focus on the assumptions and imaginations that arise around and through software. I consider poetic as a reference to the emotional, subtle and artistic expression that software can have. This work is not about considering the code of software as poems or as literature. It points to the non-neutral and imaginative character that software already has and that can be used for further artistic engagement. It also embraces the potential non-functional attributes of software and acknowledges the metaphors that software uses. It reflects on the different layers of interpretation and execution that software can have and leaves the result open for interpretation. Poetic software provides the possibility to create new artistic software, that is beyond the interface and beyond the expected mode of operation or depiction of software. Poetic software does not need to function but comes with an inherent call for statements about issues of software. www.poetic.software
IN/FORM is a repetitive event at Hof University in Münchberg. Together with Lukas Wirth I developed a visual identity for the event and therefore created a poster, which is drawn with a drawbot. The unique style of the drawbot drawing the letters shapes the visual style of all the next upcoming posters. Only the pencil changed from marker to pencils to brushes and back to marker.
A Bed, a Chair and a Table
A Bed, a Chair and a Table is a publication about the Poortgebouw, a former squat and vibrant living community located in the South of Rotterdam. In this book, oral histories from inside and outside the Poortgebouw are interlaced with material from various institutional and personal archives. By bringing together these tales of resilience, political struggle, frustration and friendship with historical documents, this book brings forward new perspectives about the Poortgebouw's unique history and its importance in the contemporary city. The starting point of the book was the Autonomous Archive, a local archiving machine built from parts of different computers by the inhabitants of the Poortgebouw and a group of students from XPUB.
This publication is brought to you by Delphine Bedel, Natasha Berting, André Castro, Elisa Chaudet, Angeliki Diakrousi, Max Franklin, Giulia de Giovanelli, Francisco González, Joca van der Horst, Aymeric Mansoux, Michael Murtaugh, Alexander Roidl, Steve Rushton, Alice Strete, Zalán Szakács and the Autonomous Archive. XPUB is a two-year Media Design Master course that prepares students to critically engage with societal issues within the fast changing field of art, design and cultural production. The project was developed in the context of Architecture of Appropriation, a research project at Het Nieuwe Instituut, that examines how squatters have appropriated urban spaces using radical improvisation techniques, and how this has influenced the way we think about the contemporary city.
Book, 140 × 210mm