| FEES | |
|---|---|
| Early Bird ELIA Member Fee [on or before 3 June 2019]* | 250 EUR |
| Regular ELIA Member Fee [after 3 June 2019]* | 350 EUR |
| Early Bird Non-Member Fee [on or before 3 June 2019] | 420 EUR |
| Regular Non-Member Fee [after 3 June 2019] | 520 EUR |
| Students’ Fee** | 70 EUR |
| *Also applicable for AEC Member Institutions. Representatives of AEC Member Institutions should contact ELIA Conference Manager at janja.ferenc@elia-artschools.org before registering for the event. **There is a limited number of spaces available in the student category. Preference is given to doctoral and master programme students from ELIA and AEC member institutions. Individuals employed by a higher arts education institution do not qualify for the students’ fee. |
| 15:00 - 16:00 | Registration Coffee & cake |
| 16:00 - 16:30 | Official welcome |
| 16:30 - 17:30 | Keynote by Felix Stalder |
| 17:30 - 18:30 | Keynote & performance by Jennifer Walshe |
| 18:30 - 19:00 | Welcome drinks |
| 18:30 - 19:00 | 'Dancing to Code, Coding to Dance' presentation by J Simon van der Walt (optional) |
| 19:00 - 20:30 | Dinner |
| 20:30 - 22:00 | Algorave event: Dancing to Code, Coding to Dance (optional) |
| 08:30 - 09:00 | Registration |
| 09:00 - 10:00 | Keynote by Cornelia Sollfrank & Daniel Martin Feige Moderated by Andrea Thilo |
| 10:00 - 10:30 | Coffee break |
| 10:30 - 12:00 | Break-out 1 (6 parallel sessions) |
| 12:00 - 13:45 | Transportation to Stuttgart State Academy of Art and Design including city tour and lunch box |
| 14:00 - 15:45 | Break-out 2 (6 parallel sessions) |
| 15:45 - 16:15 | Coffee break |
| 16:15 - 18:00 | Plenary session: History / Foundations / Roots Moderated by Andrea Thilo |
| 18:00 - 20:30 | Dinner break (not included) |
| 20:30 | Night at the Kunstmuseum, exhibition by Ragnar Kjartansson |
| 09:00 - 09:30 | Registration |
| 09:30 - 11:00 | Break-out 3 (6 parallel sessions) |
| 11:00 - 11:30 | Coffee break |
| 11:30 - 12:30 | Keynote by Abhay Adhikari |
| 12:30 - 13:00 | Closing remarks |
| 13:00 - 13:15 | NEU NOW: What Happens Next? |
| 13:15 - 15:00 | Lunch |
| 15:00 - 16:30 | Tour at Weissenhofmuseum (optional) |
Wednesday 25 September
16:30 - 17:30
Wednesday 25 September
17:30 - 18:30
Thursday 26 September
09:00 - 10:00
Friday 27 September
11:30 - 12:30
Photo by Thomas NiedermüllerThe Stuttgart State Academy of Art and Design (ABK Stuttgart), with a history extending back over 250 years, is one of the largest art academies in Germany. With 20 academic study programmes and almost 50 full-time professors in Architecture, Design, Fine Arts, Art Education, Art History as well as Conservation and Restoration, the institution provides a broad spectrum of educational and research opportunities to approximately 900 students. ABK Stuttgart is one of the few art academies in Germany awarding both doctoral and post-doctoral degrees in Art and Design, alongside postgraduate degrees.
One of the Academy's trademarks is its interdisciplinarity. They offer cross-departmental courses and seminars as well as joint projects between staff and students from every study programme. A second trademark is their more than 30 professional workshops, where students and staff experiment and realise projects under expert supervision. ABK also has a beautiful library with a wide range of national and international publications, various exhibit rooms, a cinema and a historical theatre. ABK Stuttgart is only a few minutes away from Stuttgart Central Station by public transport and is located next to the UNESCO World Heritage buildings by Le Corbusier and the famous Weissenhofsiedlung.
Photo by Martin Lutz
Founded in 1857, the State University of Music and the Performing Arts Stuttgart (HMDK Stuttgart) is the oldest and , with almost 800 students, also the biggest University of Music in Baden-Wurttemberg. Located along Stuttgart’s “Culture Mile”, the university is very important to Stuttgart and the surrounding region, not only as a university but also as a concert promoter and cultural centre.
The institution offers a wealth of subjects and in addition to piano, organ and singing, students can also study all orchestral instruments, composition, conducting (of orchestra and choir), guitar, harp and elementary music pedagogy (EMP). Musicology and the theory of music round-off their comprehensive range of practical subjects on offer in Stuttgart and all of these subjects can be studied in either the artistic or music pedagogical courses. HMDK also offers school music and church music. Additionally, students can complement their studies with time spent at the orchestral academy of RSO Stuttgart. For musicology and music pedagogy the university has the right to confer doctoral degrees and award post-doctoral (professorial) qualifications.
With respect to the performing arts (opera school, theatre, visual theatre – puppetry and animation, spoken arts) the university benefits from having its own theatre (Wilhelma Theater), which dates back to 1840. HMDK also operates an opera studio in cooperation with the Staatsoper Stuttgart in order to promote vocal training; and an acting studio in conjunction with the Staatsschauspiel Stuttgart and several other theatres in Baden-Württemberg offer students a means of gaining practical experience.
Annually, there are about 500 public concerts in the aesthetically pleasing university building with its imposing, 50m high tower in the centre of the state capital Stuttgart. The university accommodates three concert halls with up to 500 seats. About 85,000 visitors per year attend these events.
A few more of the university’s important differentiating features include the unique collection of 11 organs, a technically well-equipped studio for electronic music, and the only existing figure theatre course in the former West German states.
Photo by Wolfgang Silveri
Teacher's Academy 2013 Utrecht and Amsterdam
Teachers' Academy 2009 Sofia| Creating.Communication.Circuit - Introducing virtual reality in teaching and music performances, specifically as is relevant to persons with autism Matija Anđelković, Mirko Družijanić University of Arts in Belgrade, Faculty of Music and Association Nebograd, Serbia |
|---|
| Interactive lecture using examples of virtual reality as a tool in teaching music to people with autism. Presenters (composer/music pedagogue and a programming team member) will show the results of ongoing research and include interactive improvising sessions. Delegates will have an opportunity to explore the teaching tool and discuss its possibilities. |
| Opera out of Opera: Audience development and new technologies Michelangelo Galeati Conservatorio Santa Cecilia Roma, Italy |
|---|
| Opera out of Opera is an innovative project that aims to introduce younger generation to the world of Opera, outside theatres and concert halls. |
| Artistic Disruption of Formal Representations to Support Better Content Consumption and Construction of Meaningful Narratives. Manuel Pita Universidade Lusófona de Humanidades e Tecnologias, Portugal |
|---|
| In this talk two interdisciplinary art-science projects, both aiming to improve the way in which people consume and relate to online content and social network interactions will be discussed. |
| Values in Software Development for Local Classrooms Pierre Depaz Film University Babelsberg Konrad Wolf, Germany |
|---|
| Multimodal is a digital tool that Depaz has designed and developed specifically for use in physical classrooms. This presentation will present both the research into the ethical values embedded in the design as feature set, and the development process of this usable tool for face-to-face learning and teaching. |
| Teaching and Learning as Performing Arts (towards the expanded classroom) David Quigley Merz Akademie Stuttgart, Germany |
|---|
| The intermedia choreography of the digital classroom creates new situations for teaching and learning that share similarities with many late 20th century artistic practices. This lecture presents a series of projects/lectures involving the use of different digital and analogue media within varying institutional settings. |
| LoLa and SWING project: blending performing arts teaching and advanced technology Claudio Allocchio Consortium GARR, Italy |
|---|
| For some time now, performing art teachings and production have been considered distant from technology and advanced networking services. This has been proven Incorrect since the beginning of the 21st century, when we first started to explore how the two worlds could benefit one from the other, via a series of meetings and workshops (Network Performing Arts Production Workshops) and, later, the development of specific, advanced tools like LoLa (Low Latency advances streaming system). Now, teachers and artists in the area have new unprecedented possibilities to interact, teach and also create new forms of art, using these advanced tools. Project like SWING aim to make the teachers and students more "digitally aware" in the performing arts and also helps them to introduce technology into their daily life. |
| Learning Spaces: Developing learning environments with students through mobile devices Jeff Boehm, Neil Glen Bath Spa University, United Kingdom |
|---|
| Glen and Boehm explore the affordances of mobile devices in learning environments. Their work focuses on enabling new pedagogies to emerge through co-creativity between students and academics in art practice and performing arts. They also address data management and privacy concerns impacting the wider use of mobile devices in higher education. |
| The E-Learning Jungle, Digital Learning and Teaching at Art Universities Charlotte Axelsson, Wanja Kröger, Renato Soldenhoff Zurich University of the Arts, Switzerland |
|---|
| In this talk, Axelsson, Kroger and Soldenhoff present the digital environment and philosophy. They share the approaches and best practices. Let’s go down a ZHdK exploration and walk through the E-Learning Jungle. |
| Digital Technologies and Artistic Research at the IEM, Graz Marko Ciciliani University of Music and Performing Arts Graz, Austria |
|---|
| The Institute for Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz is an active player in the field of Artistic Research (AR). Since digital technologies are inseparably entwined with the history of the institute it has become necessary to critically analyse the implications that the use of technology entails when applied in the field of AR. |
| Where will robots study art? Luciano Pinna AKV|St.Joost Art Academy (Avans University of Applied Sciences), Netherlands |
|---|
| Technology is ever advancing and we are on the verge of entering a new era in which we will have to share our lives, and loves maybe, with intelligent machines. Do robots dream of studying arts and how would that look? In this presentation, Pinna will argue that Speculative Design is a powerful tool to help define alternative narratives to mainstream political and economic perspectives. |
| The Digital Wunderkammer Mario Doulis Merz Akademie Stuttgart, Germany |
|---|
| "The Digital Wunderkammer" (cabinet of wonders) is the most recent in a series of projects (both with undergraduate design students and in presenter's personal research) on the access to digital archives and collections through Virtual Reality. In this iteration, students have explored the history and idea of the “Wunderkammer” as a starting point for the design of the interactive, spatial presentations within VR of such a "Kammer", filled with their own collection of digital curiosities. The results of this project will be presented to the delegates. |
| Ancient Art meets New Media: The potential of Blended Learning as an element of continuation within higher education of performance art – an experiment in the training of oral storytellers Ragnhild A. Mørch Berlin University of the Arts, Germany |
|---|
| In Ancient Art meets New Media, the Berlin Career College explores the possibilities of using Blended Learning in the training of oral storytellers. Can digital tools be implemented in the education of live-performers, when the performance itself depends on real-life meetings of teller and listeners? |
| Its just duh-duh-duh! Curtiss Anderson Newcastle University, United Kingdom |
|---|
| A look into sound design for Electronic Dance Music and what it involves; from movement and texture to 'humanising' and creating immersive sound-worlds... |
| How Videos Can Help to Enhance Professionality in Teaching and Learning Christiane Lenord, Katja Büchli Weiss Stuttgart Academy of Art and Design, State University of Music and the Performing Arts, Germany |
|---|
| Two different approaches of using videos of educational settings in pre-service teacher training (fine arts and music) will be presented, experienced and discussed. |
| Can Post-Lecture CAD Screencasts Reduce Cognitive Load and Foster Self-directed Learning in First Year Interior Design? Tracey Dalton Technological University Dublin, Ireland |
|---|
| This presentation discusses findings on the use of screen casting and the benefits they pose for first year interior design/architecture students at university level, which could be applied in other disciplines. |
| Starting from scratch: a space for radical imagining of online arts teaching strategies Kate Hewson, Marina Kelly Arts Institute, University of Wisconsin-Madison, United States |
|---|
| How can we retain the responsiveness, engagement, and impact of person-to-person teaching when offering practice-based studio classes online? In this interactive and generative workshop, participants will envision creative ways of recreating (or improving upon!) in person teaching and learning using all of the technology options available today. |
| Decoding Creative Skills Nicola Montaretto Marullo ELISAVA Barcelona School of Design and Engineering, Spain |
|---|
| This is a workshop where creative competences are reflected, based on the results obtained in The Creative Decoding Tool (CDT). CDT is an online test that permits mapping the creative competences of students and design professionals through a questionnaire. Delegates will be able to disclose their most important creative competences and get a graphic visualization of the results. |
| Conceptualizing the networked academy through our digital practices David White University of the Arts London, United Kingdom |
|---|
| Using the "Visitors and Residents" mapping activity, participants will conceptualize the academy in the digital era in the context of their own digital practices (from email to VR). Furthermore, they will discuss the implications for teaching, learning and creative practice. |
| The Multimodal Writer: curating the digital in creative writing practice Josie Barnard Middlesex University, United Kingdom |
|---|
| The ability to move between genres and technologies is, in a digital age, essential for writers. It might seem that no single model of creativity can help. The multimodal model of creativity, which this paper outlines, enables effective and productive negotiation of the wealth of affordances new media technologies provide. |
| “Look Around. It Is All VR”: Speculating On and Creating Critical Content for Immersive Storytelling Tools in a University Lab Environment Ágnes Karolina Bakk Moholy-Nagy University of Art and Design Budapest, Hungary |
|---|
| As the immersive storytelling formats are still a novelty, this presentation focuses on a plan how in a university framework we can get prepared for the research and experimentation with new media tools such as VR or interactive digital narrative authoring tools such as e.g. Twine. |
| Write it together Franziska Nyffenegger Zurich University of the Arts, Switzerland |
|---|
| How often do you write by hand? How do you use digital tools when writing? How often do you write together with others? And what about your students? In this workshop, delegates will exchange writing experiences, discuss writers’ attitudes and strategies, try out tools and methods – and write it together! |
| The transformative impact of technology on teaching: the case with the Music Paint Machine. Luc Nijs Ghent University, Belgium |
|---|
| Is educational technology really a “force of change?” Some say it is, others contest this idea. One of the arguments that it can be, is the potential impact of digital tools on how one teaches. Such transformative impact on instrumental music teaching was provoked by the Music Paint Machine. This music educational technology allows a musician to make a digital painting by playing music and by moving on a coloured pressure mat. |
| Is crafted materiality enough to disturb digitality? Murat Germen Sabanci University, Faculty of Arts and Social Sciences, Turkey |
|---|
| One must not forget that there are pitfalls, as software used can sometimes leave foreseeable, recognizable traces in a designer /artist’s production, when effects/filters are overused. Germen calls this as the ‘signature of the software’ and this fact may fade, reduce uniqueness that could be more easily obtained with analog processes. |
| Digital Anxiety Self-Help Group Dorothée King The University of Applied Sciences and Arts Northwestern Switzerland |
|---|
| Yesterday everything was better - We do want to go digital, but not too much. How to overcome digital anxiety, get educators to leave their digital coziness of the 2000s and fully embrace the digital reality of now. The digital anxiety self-help group opens up a humorous debate on the pros and cons of digitalization in our immediate work environments. Talking frankly about breaking rules and about do and don’ts in the digital realm will help delegates to overcome set states of mind about their digital abilities and preferences. Everybody will leave refreshed for a digital re-start. |
| Game-theatres: Exploration of trust-building processes in theatrical social practice. Rejane Dreifuss, Jacqueline Holzer, Patricia Wolf Zurich University of the Arts, Switzerland |
|---|
| The Zurich University of Arts has initiated a multidisciplinary research project involving sociological, theatrical and managerial studies. The thesis of the project is that the so called “game-theatres” work as a (social) laboratory in which ‘trust-building processes’ between actors and audience can be realized and that this kind of format can be extended to innovation management. Delegates will enjoy a stimulating reflection on the influence of the digital culture in the theatre and the emergence of new narrative formats which rules and functioning could be useful and motivating for other fields. |
| Me(me), Myself and I Gila Kolb, Helena Schmidt Bern University of the Arts, Switzerland |
|---|
| In this workshop delegates deal with memes 1) theoretically, as a form of image as well as in relation to the concept of “poor Images” (Steyerl 2009) and 2) create memes themselves. The aim is to trace memes as an everyday-image practice and to understand it as non-affirmative critique. Furthermore, delegates will focus on the meme in the realm of (art) history. What is a meme, what is an art meme? Who uses them? What critical and what educational potential do they have? In a second step, delegates will discuss their use in teaching upon making their own art-memes. |
| Teaching Mixed Reality in Practice: Methods, Tools and Art Students’ Projects Marcin Wichrowski Polish-Japanese Academy of Information Technology, Poland |
|---|
| The increasing popularity of Mixed Reality (MR) and the easy access to software and hardware for creating projects using this technology leads to considerations on how to understand Its potential for the academic world and how to integrate it into students’ assignments/projects. This presentation will focus on methodologies and tools which allow the introduction of MR technologies to art students at different levels of advancement, taking into account the project requirements and skills. |
| Designing the SODA Curriculum Jacqueline Butler, Penny MacBeth, Paul Proctor, Hayley Walsh Manchester Metropolitan University, Manchester School of Art, United Kingdom |
|---|
| The presentation will chart the journey of designing a curriculum for a new School of Digital Arts (SODA) at Manchester Metropolitan University. Responding to creative industries that are in a constant state of flux, this new curriculum, designed through a series of short developmental “sprints”, has involved students, alumni, staff and external industry partners, from the creative, tech and business worlds, creating crossing disciplinary connections between art, design, business, sound and computing. This presentation will take the audience through the process of building a curriculum from scratch and show a new way to approach Higher Education in an art school, working in partnerships with the creative industries as co-creators. The presentation will be an introduction to how we can create curricula that is agile and responsive to change whilst working within institutional constraints. |
| WhoLoDance: Whole Body Interaction Learning for Dance Education: Blending Engine and Annotation Tool Rosa Cisneros, Karen Wood Coventry University, United Kingdom |
|---|
| This presentation will focus on the digital tools from a large EU-funded project, Wholodance, that are aimed at enriching dance and choreography. Wood and Cisneros will also present the large repository of motion capture files of ballet, contemporary, Greek folk dance and flamenco. This presentation will demonstrate two proof-of-concept tools, the Annotation tool and the Blending Engine, that have emerged from the Wholodance project and have been presented to different groups – students, artists and choreographers. The feedback received shows that these tools are useful for enriching the learning and creating process and offer an opportunity to deepen engagement with technique and performance requirements. Presenters will share insights from the research process and outcomes of the evaluation. |
| FabLabs as Collaborative Digital Learning Labs at Art Schools Anne Bergner Stuttgart State Academy of Art and Design, Germany |
|---|
| FabLabs at art academies can break open disciplinary silos and enable students and teachers alike to acquire digital competences in a highly motivating, community-driven setting. This presentation showcases the possibilities of how FabLabs can enable students and teaching staff to learn and work collaboratively with physical digital fabrication tools and electronics and acquire digital and “making” competencies in a community-oriented and supporting setting. |
| The digital in art and design meet biochemistry Natalie Weinmann Stuttgart State Academy of Art and Design, Germany |
|---|
| In this presentation, the delegates will experience what happens when biochemists and designers start a creational process together. When the playful and creative approaches of designers and the structured hypothesis-driven procedures of scientists meet, potentials are set free where new phenomenon can be created and unique outcomes are possible. |
| Digital capital in action at universities of the arts Priska Gisler, Anna Maria Hipp University of the Arts Bern, Switzerland |
|---|
| The lecture performance will be based on a SNSF-study looking at the connections between the digital transformation of society and the social opportunities of art students. We ask questions such as where did art students learn their digital practices, and how do these practices impact their student selves? |
| Coding for everyone: Democratization of the power of digital knowledge Christine Goutrié Weissensee Academy of Art Berlin, Germany |
|---|
| During the overall foundation year at the Weissensee school, all students from all subjects, are introduced to coding, algorithmic thinking and binary codes. Fine art and design students who had never before written one line of code before because they were told they are “not the type of people”, develop amazing results; for example building and programing an asphalt printer. The delegates will gain insight Into how basic digital concepts can be taught to a broad range of fine art and design students with almost no prior knowledge to the field within a very short time span. |
digital innovation projects. This includes programmes for organisations such as the Guardian, Google and Nesta. He leads the Urban Sustainable Development Lab, which has been named one of UK’s 50 radical-thinking projects by the Observer newspaper. Abhay has a research background in biofeedback gaming from the music research centre (mrc) University of York. He has collaborated with an artist to conduct mindfulness workshops in Japan. In 2019 he is launching Culture Labs to foster social innovation led by the cultural sector. The first lab will run in Bilbao. Abhay speaks on digital culture at events such as FutureEverything, Battle of Ideas and TEDx.
at the Stuttgart State Academy of Art and Design. He studied Jazz Piano in Amsterdam and Philosophy, Literary Studies and Psychology in Gießen and Frankfurt am Main. At the latter institution, he did his PhD and afterward his habilitation at the Free University Berlin, where he also worked as a research assistant in the collaborative research center 626, “Aesthetic Experience and the Dissolution of artistic limits”. His research and publications focus on the interrelation between Aesthetics and theoretical philosophy with a special emphasis on questioning the relation of singular arts and the philosophy of history and anthropology. He wrote a book on the Philosophy of Jazz (2014), The Aesthetics of Computer Games (2015) and the Philosophy of Design (2018) and is about to finish a book on human nature (fortc.).
Berlin. Recurring subjects in her artistic and academic work both in and about digital cultures are artistic infrastructures, new forms of (political) self-organization, authorship and intellectual property, techno-feminist practice and theory. As a pioneer of Internet art, Cornelia Sollfrank built up a reputation with two central projects: the net.art generator – a web-based art-producing ‘machine’, and Female Extension – her famous hack of the first competition for Internet art. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework and led to her academic research. In her PhD “Performing the Paradoxes of Intellectual Property,” Cornelia investigated the increasingly strained relationship between art and copyright. In her follow-up artistic research project Giving What You Don’t Have she started to explore art projects that all contribute to the creation and maintenance of ‘digital commons.’ This led to her current research project ‘Creating Commons,’ based at the University of the Arts in Zürich. Her most recent performance À la recherche de l’information perdue is about gender stereotypes in the digital underground with the example of Wikileaks. Her book “Die schönen Kriegerinnen. Technofeministische Praxis im 21.Jahrhundert” (The beautiful warriors. Technofeminist Practice in the21st Century) was published in August 2018 with transversal texts, Vienna..png)
His work focuses on the intersection of cultural, political and technological dynamics, in particular on new modes of commons-based production, control society, copyright and transformation of subjectivity. He not only works as an academic, but also a cultural producer, was a moderator of the mailing list
Ireland. Her music has been commissioned, broadcast and performed all over the world. She has been the recipient of fellowships and prizes from the Foundation for Contemporary Arts, New York; the DAAD Berliner Künstlerprogramm, the Internationales Musikinstitut, Darmstadt and Akademie Schloss Solitude among others. Recent projects include Aisteach, a fictional history of avant-garde music in Ireland; EVERYTHING IS IMPORTANT, a work for voice, string quartet and film commissioned by the Arditti Quartet; and TIME TIME TIME, an opera written in collaboration with the philosopher Timothy Morton, which has been touring to critical acclaim. Walshe is currently Professor of Performance at the State University of Music and the Performing Arts Stuttgart. .jpg)
Photo by Wolfgang Silveri
Photo by Martin Lutz