2006 Summer Residency Events

Courses:
Studio Workshops
Deborah Aschheim: Transparency
Jeremy Beaudry: Exterior Memory Studio
Lynn Book: Writing Through Voice
Christopher Hewitt: Documentation As Theory, Concept and Practice
Heimo Lattner: Cinema Concrete. Reading, Walking, Recording, Mapping and Scriptwriting
Marjorie Vecchio: The Universe and You. Scientific Methods and Art

Seminars
Geoff Cox: Immaterial Research
Wolfgang Sützl: Creativity Or Security. Politics and Art After 9/11
Thomas Zummer: Becoming Real. Technical Reproducibility/Mediality/Virtuality

Guest Talks and Lectures
Deborah Aschheim
Jeremy Beaudry
Lynn Book
Geoff Cox
Christopher Hewitt
Derek Holzer/Sara Kolster
Jan Korbes
Heimo Lattner
Gebhard Sengmüller
Wolfgang Sützl
Marjorie Vecchio
Jan Verwoert
Wochenklausur
Thomas Zummer

Studio Workshops
are not intended to further technical virtuosity but to enhance creativity by exposing students to new approaches, concepts and methods of working. All workshops are interdisciplinary, therefore participants can work in any medium. It is recommended that students work with what they are technically familiar with for these sessions. Participants should bring their own tools i.e. cameras, powerbooks, sketch pads. Scanners, video projectors and printers will be available.

Deborah Aschheim
Transparency
This workshop is an intensive interdisciplinary think tank about making invisible things visible. We will take a broad based approach to the idea of transparency, which will serve as both a focus and a point of departure linking the diverse research and creative interests of participants. As a jumping off point, we will consider:
- transparency as a formal property of design in art, architecture, material culture
- the aesthetic and metaphorical implications of transparency as opening up physical and social space (e.g. Bauhaus glass curtain architecture, the Freedom of Information Act)
-photography and the camera as prosthetic vision
- the opening up of the space of the body via therapeutic and clinical scanning, e.g. X-rays, scanning technologies, and implications for humans with bodies

We will extend our observations into the larger social context, considering:
- surveillance and screening as elements of security, defense, disciplinary systems
- historical and political uses of coercive or invasive surveillance (e.g. the Panopticon, the PATRIOT act.)
- the ubiquity of remote monitoring technologies in civilian space including nannycams, camera phones
- transparency as spectacle and entertainment (e.g. the continuum from documentary to reality TV.)
- transparency as a strategy for political and institutional critique

Discussions and readings will provide a foundation and a critical catalyst to projects that we will develop over the course of the workshop. Working in small collaborative teams or partnerships, we will invent transparency strategies to transform and reinterpret the site of the OK Centrum. Workshop participants are encouraged to do background reading and to consider the topic as broadly as possible before the workshop starts, and to identify invisible systems and structures that might be fertile ground for observation and opening up, and to come prepared to contribute an independent voice to an emerging dialogue.

Course Goals:
- to use the workshop as a hands on structure for considering fundamental issues about the act of observing/being observed, site specific interventions and the body in space
- to mine the potential of interdisciplinary sources and evolve a definition of art as research
- to make personal use of the think tank and collaborative installation model for invigorating individual practice with team problem solving, cross pollination across artistic sub-disciplines, and opening up approaches to ideas and processes
- to catalyze spontaneous and synergistic dialogue generated by experiments in various media, and various approaches linked by shared themes and questionArtist

^

Jeremy Beaudry
Exterior Memory Studio
memory as autobiography
memory as impression
memory as data
memory as art
memory as image
memory as technology
memory as representation

Imagine living your life without memory, without the ability to remember those myriad experiences which define you as a person and which anchor your sense of belonging in the world. Such an hypothesis raises the question: By what other means, external to your own mind, would you accumulate and retain the events, sensations, perceptions in your life?

So, instead of carrying those events, sensations, perceptions, etc with us in our heads as autobiographical memories, we must gather and stockpile them externally around us in great storehouses, vaults, archives, pockets. We would always need close at hand a great many recording devices, systems, and technologies: pens, pencils, markers, paints and pads of paper, sketchbooks, notebooks, chalkboards & all kinds of cameras, Polaroid, digital, disposable & mini dv movie cameras, Super 8, 16mm, and rolls of film, memory cards, batteries, dv tapes, lenses, light meters, and laptop computers, PDA's, and tape recorders, mini-disc or mp3 players with microphones, and more batteries and tapes and mini-discs and much, much more.

Then we must decide how to organize all of this STUFF. What systems do we use to catalogue, cross-reference, archive all this STUFF? What items/elements/content become associated with what; how do we make connections? What kind of architecture might hold these archives? And remember (remember?), we need to have some of this STUFF (and devices, too) always readily available, carried in pockets, coats, and bags with many pockets, compartments, and loops.

Goals
This workshop will explore the above hypothetical situation and use it as a point of departure for the exploration of the “technologies of memory,” a phrase which contemporary cultural historian Marita Sturken uses to identify the cultural products which assist in both individual and cultural memory. Our goals for the course are:
• Develop a cursory understanding of how memory functions, from a philosophical, psychological, social, historical, and cultural perspective, as well as how artists have addressed the power and mystery of memory
• Adopt a rigorous process of documentation and subsequent system of organization and representation—an exterior memory—in order to discover how these other forms, devices, and systems contribute significantly to the construction of our own memories as well as a larger cultural or collective memory
• Engage a multi-modal art practice that encourages translation between different media and demonstrates how such translation can lead us beyond the conceptual limitations of any one single medium
• Discover effective methods for artistic collaboration and dialogue with others whose work is perhaps very diverse and exists outside of our own sphere of comfort; and understand the implications of an art practice that moves beyond solipsism and into a more communal realm.


^

Lynn Book
Writing Through Voice
This workshop will focus on the relationship of ‘voiced bodies’ to language production. The proposition of voiced bodies locates vocal production within the domain of body to highlight its intrinsic physicality. At the same time, voice’s ability to exceed conventionally perceived body limits as well as the limits of language, is recognized. Body provides more than mere vibrational container or structural armature for proficient articulation and Voice is more than verbalized thought. The enigma of bodily being defies discursive efforts to name experience and the fury and desire of voice far exceeds linguistic invention. Voice has precious little life outside of rationalizing speech acts which dominate ordinary discourse and infiltrates creative invention. The burden of ‘making sense’ in writing and speaking – especially through shopworn narrative structures – often delimits imagination. When the voiced body is engaged, there is a new indeterminacy at play challenging the stability of rules and roles of words and meaning.

WTV will become a laboratory to overturn conventional relationships to writing. We will explore short-circuiting, shock as well as surplus methods in addition to reconstitutions of automatic writing and journaling strategies. Our efforts and improvisations will aim to plumb distances between impulse, feeling, image and utterance. The extended voice will find ways to germinate text/scores through sounding, while writing will become actioned and translated into other mediums and forms that multiply its graphical and spatial potential. In physicalizing writing through the immediacy and unpredictability of voiced bodies, a recovery of eros is possible in new assemblages of desire in the making.

Each morning, writing work will be couched in a whole bodied engagement that includes breathing and awareness exercises, physical and vocal exercise and techniques. Each afternoon will focus on specific projects that will include interactive explorations and improvisations to generate a body of engaged writing that will take many forms. Recording your experiments will be an essential part of the process, so it is recommended that you have a fairly simple sound program on your laptops – Sound Forge Studio for PCs, for instance. You can, of course, also videotape your experiments. For ease and portability, you might want to bring a small, mobile recording device of which there are numerous types, from single chip digital recorders to 4 track palmcorders. Also bring a generously sized sketch book or other paper source and marking implements.


^

Christopher Hewitt
Documentation As Theory, Concept and Practice
This workshop explores the issues surrounding the use of documentation as a creative and integral part of the artistic process. As well as looking at innovative approaches to the traditional media of documentation - video, audio, and photographic - the workshop will also look at less obvious forms, such as text, mapping, mythology and the documentary role of the audience. A key question will be how an ephemeral artistic practice can be approached through documentation and, most importantly, how documentation can become an intrinsic part of the creative process in its own right.

The workshop consists of a series of lectures presenting examples of contemporary artists working with forms of documentation and practical tasks in which students will be asked to explore different approaches to documentation. There will be an emphasis on the development of a conceptual approach to defining the creative process.

Overall the workshop will aim to address the question of how the act of documentation can relate to: Process – documentation as the artistic process; Theoretical – critical – cultural context; Structural Frameworks; Authenticity; Research; Analysis; The relationship between process and product; Market value of temporal art forms.


^

Heimo Lattner
Cinema Concrete. Reading, Walking, Recording, Mapping and Scriptwriting
The criteria for suggesting locations- which will be visited on daily excursions, is that these places retain or recall counter or parallel-narratives of the city. These stories or histories are those who are not marked on any conventional or even unconventional map or guide. The routes through the city will be determined by all participants. These locations will be placed on a visual and acoustic map which will not only indicate time and place but serves as backdrop for a multi-facetted investigation in sight and sound, city and memory, home and nostalgia, language and history.

The group will meet for a reading and discussion on a daily basis. Texts will include critical urban studies as well as works of poetry and literature. This readings will be followed by time for personal writing and editing of the material collected the day before, followed by preparations for the walk and selecting the route. The form and the format of a “product” or a final presentation will depend on the participants’ artistic experiences and available facilities and will have to be discussed collectively. But a main focus will be put on discussion and creative writing. It will be necessary to bring audio recorder or video camera or photo camera, computer, paper and pens.

Each participant is invited to develop first thoughts or drafts and to add further questions to the following list prior to the workshop. 
What do you think of when you usually walk the streets of Linz?
What is the role of cartography when we are confronted with the imperium of time?
What sites do you associate with counter-narrative?
What places that no longer exist do you keep in your memory?
When was the last time you took a walk?
When was the last time that you have met a stranger?
How long can someone be a stranger in one place?


^

Marjorie Vecchio
The Universe and You. Scientific Methods and Art
This workshop will take the “art of looking” to broader levels by using various scientific methods as inspiration for making new art works. Artists of all themes and media are invited to participate in this structured smorgasbord of fascinating discussions and assignments. You don’t have to know anything about the sciences to join this workshop, but we will investigate techniques, for example, as repetition, testing and experimentation, outcome projection, dissection and documentation, all while dipping into traditional structures of still-life, narrative, abstraction and documentary forms. We will investigate the problems of scientific inquiry for possible new systems of practice. This class is mostly about form; content is the choice of the artist, and may or may not be related to actual science subjects.

In an effort to create higher levels of creative responsibility, deeper thought skills and ultimately, a greater potential for experimentation and the creation of self-designed assignments, this class attempts to use scientific systems in order to locate expansion. This workshop comes out of my response to the heavy and often glib use of the word ‘science’ in relation to art, as well as the popular trend of artists creating work about other art or artists, usually informed from images they tend to only see on the internet or in glossy magazines and books. This workshop provides the space to (re)learn the benefits of artistic research. The possible methods serve only as a jumping off place, rather than binding formula. After discussing the avenues of scientific method, we will also consider the ideas of Thomas Kuhn, who suggests that scientific revolution occurs through mistake, extreme risk, and failure, as opposed to scientific method. We too will discover ways to benefit from this conflict.

Class time will be spent discussing scientific method and its pitfalls, noting examples of artists who knowingly or not use scientific methods, and reviewing the results of individual assignments and small-group experiments.

Students are required to bring a subject, object, issue, phenomena, process, or theme they are interested in investigating to class in whatever form they can: physically or written down. Please be prepared on the first day to tell the class about your idea.


^

Seminars
are intensive explorations into current topics related to media studies, philosophy, theory and art history. Students gain experience developing and articulating their own theoretical positions, engage in dialogues and discussions, making connections to their own work and it's place in the world. Seminars provide an opportunity to be guided through a topic or area of research before students initiate their own research in the semesters ahead.


Geoff Cox: Immaterial Research
Research traditionally is an inquiry into ways of 'knowing'; from activities of 'making' to more conventional academic distinctions (such as qualitative and quantitative methods) that characterise the fields of art and science. However, under current (post-Fordist) economic conditions, knowledge has become a commodity like other material goods, and as a result arguably, the activity of research is more broadly defined: workers increasingly appear to perform tasks that are tied to art and research. In much the same way as artists work with ideas as material in the conceptual arts tradition, now research has increasingly become not simply a description of a process but also material for arts practice. In the 'knowledge economy', production has become both material and immaterial, and new contradictions arise in the creative labour of artists working in this way.

The series of seminars tries to develop a critical context for artist's research - in describing both potential method and content of creative practice. It draws upon trans-disciplinary thinking across art, technology and cultural theory. In particular, some of the terms and thinking associated with the autonomist movement will be introduced, such as: 'immaterial labour' to describe the way in which work is increasingly characterised by a communicative dimension; and 'general intellect', to describe shared knowledge exemplified in the open source and free software movements.

The seminars aim:
To introduce a range of concepts and examples that relate to an understanding of research agendas in the context of the knowledge economy and immaterial production.
To develop strategies to support a critical framework for research and future development of creative production.
To encourage critical practice or embedding theory in practice (praxis).
To develop an informed sense of their own practice in this module, and it is expected that it will help prepare research and development materials for further creative work.


^

Wolfgang Sützl
Creativity Or Security. Politics and Art After 9/11
In this seminar, we look for an understanding of the changed political condition of creative work in the post-9/11 era. In this era, in the words of Giorgio Agamben, "security" has become the "guiding concept " of politics. Being uncalculable by nature, art is often incompatible with the demands of security and, consequently, viewed as a "risk", leading to a decertification of innovative environments and the enthronement of sameness on a global level. Yet precisely because art essentially remains outside of the calculable, a new politization of art has occurred: art is sometimes considered "politics by other means" - the last remaining enclave where a critique of violence and power is possible in spite of the totalizing schemes of security and the substitution of ethics by cynicism.

Goals:
Learn to re-think the political dimension in the context of security
Get acquainted with people, theories and resources that promote that understanding
Enable and encourage participants to reflect on the politics of their own work.


^

Thomas Zummer
Becoming Real. Technical Reproducibility/Mediality/Virtuality
This seminar offers an introduction to contemporary art/media by examining the relation between new media technologies and preceding media forms. The continuities, complicities, and differences between media are often ignored or obscure, and yet the unconscious habits of interaction and reception form a broad common ground. In this seminar we will look in detail at a range of works and texts in a survey of the relevant epistemologies in cinema, analogue and digital recording and transmission, software development, programming languages, writing and communication theories, in an aesthetic, technical/historical, and theoretical framework. Readings will include: Walter Benjamin, Theodor Adorno, Gilles Deleuze, Friedrich Kittler, Norbert Boltz, Tom Gunning, Bernard Steigler, Jacques Derrida, Willem Flusser, Giorgio Agamben, Jean-Luc Nancy, Bernhard Siegert, Lev Manovich, Geert Lovinck, and others. We will also view, analyse and discuss select media works.

The goal for this seminar is to introduce/revisit certain fundamental texts in philosophical aesthetics in a contemporary technical/theoretical/practical context. We will discuss Benjamin’s and Heidegger’s seminal texts on artworks, technics, and technical reproducibility, as defining conditions of modernity. We will then rigorously investigate the relevance of those texts in contemporary artistic practices vis consideration of texts by Derrida, Stiegler, Nancy, Kittler and others, and through viewings and discussion of media works.


^

Guest Talks and Lectures
Jan Korbes, back to the Netherlands from South Africa where he pushed 'do-it-yourself-architecture' further in the townships of Capetown building 'love hotels' from local materials, for and with locals. Jan diverged from traditional architecture to form a brotherly cooperation with Denis Oudendijk (www.vlnr.info). Their "garbage architecture" operates on the borders of architecture, art and design and creates new products from old materials. Origin for these designs are found in the object itself, by listening to its own composition, history, local and social context. More work here.

Gebhard Sengmüller is working in the field of media technology, developing projects and installations focussing on the history of electronic media; creating alternative ordering systems for media content; and constructing autogenerative networks. His work has been shown at Ars Electronica, the Venice Biennale, ICA London, and ICC Center, Tokyo. His projects include "Vinylvideo", a fake piece of media archeology, a ”forgotten” invention for the storage of television signals on longplay vinyl records and "Vergessen© Erasure Coils" a collaboration of about 20 artists and art theoreticians working on the topic of forgetting in different ways, trying to cope with a phenomenon which seems inaccessible to known methods of epistemology. You can read more about his projects here.

Jan Verwoert: School's Out!-? How can you address, deal with and maybe even progressively subvert the educational authority in the process of teaching art? What is there to be learned from artistic practices that engage pedagogy in alternative ways? Can democratic structures ever be implemented in the production and teaching of art? Or will art and pedagogy always be fundamentally at odds with democracy because the aura of the work and authority of the teacher remain pivotal to the encounter with art and the procedures of teaching? Jan Verwoert is a writer and critic who lives in Berlin. He is a contributing author of frieze magazine and among others also writes for Metropolis M and Afterall. He currently teaches artists at the Piet Zwart Institute, Rotterdam and curators at the Royal College of Art, London.

Sara Kolster is a video and media artist with a background in web/graphic design and web-based projects. The focus of her work has shifted towards video and film; capturing details from urban locations, visualizing fragments of stories of these environments. She uses different strategies, from time-based media (video, film) to appropriated research methods belonging to different observational disciplines (journalism, documentary & archeology). Her work concentrates on the integration of sound and image, using different techniques - from medium format slides, 16 & 35 millimeter film and video to database-systems, live processing programs such as Pure-Data and web-interfaces. Website here

Derek Holzer is a sound artist with a background in radio, webstreaming and environmental recording. His work focuses on capturing and transforming small, unnoticed sounds from various natural and urban locations, networked collaboration strategies, experiments in improvisational sound and the use of free software such as Pure-Data. He has released tracks under the Nexsound, Sirr, and/OAR and Gruenrekorder labels, and has co-initiated several internet projects for field recording and collaborative soundscapes including Soundtransit.nl. Website here.

Wochenklausur develops projects and interventions in public life that aim at reducing social and political deficits. The focus is not on formal aspects of art and design but on direct interaction with society. The group acts by invitation and has recently dealt with Subcultures in Helsingborg, with Mediation and Conflict in Public Sphere (Nuremberg). For the Biennale in Venice WochenKlausur established a network of language schools in Macedonia and Kosovo in response to the war. In Zurich, a shelter for drug-addicted women was created in 1994 that is filled daily to capacity. Other projects can be found here.

Summer Residency Program

Calendar:
Residency: July 21-August 7
July 20: Registration
July 21: Orientation
July 22-26: Section 1, (workshops, critiques, research course)
July 27: Students day off
July 28-August 1: Section 2, (workshops, critiques, research course)
August 2: Students day off
August 3-7: Section 3, (seminars, project planning, graduation)

Thursday, July 20 REGISTRATION AND RECEPTION
09:00 Graduating students set up exhibitions
15:00 Meeting workshop teachers ASCHEIM, BOOK, BEAUDRY and directors
16:00 Registration - O.K reception area
17:00 Reception - Media Lounge 4th Floor

Friday, July 21 ORIENTATION 
08-09 Second year students, Welcome back and Group Meeting - Media Lounge 4th Floor
09-11 Second year students: Intensive group critiques on last year's projects. 5 min. present + 10 min. response from ASCHEIM, BOOK, BEAUDRY - Media Lounge 4th Floor
09-10 First year students: Welcome and registration - Room 01
10-11 First year students: 2 minute introductions
11-12 Lunch
13-13:30 Introduction to DUK and O.K - Media Lounge 4th floor
13:30-14 First year questions to second year
14-17 Second year students: Critiques 


SECTION 1: 

Saturday, July 22 Section 1, Day 1
08:00-10:00 Workshops 
BOOK - Media Lounge 4th floor
BEAUDRY - Room 05 ground floor
ASCHEIM - Room 01 ground floor
10:00-11:30 Studio and research time 
11:30-12:30 Lunch
12:30-14:00 Studio and research time 
12:30-13:00 Daily meeting (year two) Room 14 2nd floor
13:00-13:30 Daily meeting (year one) Room 14 2nd floor
13:30-14:00 Open office hours Room 14 2nd floor
14:00-15:00 Workshops
15:30-17:00 Yoga WIMMER  - Media Lounge 4th Floor
17:30-18:30 Year Two Extended Critiques (2x3 students, 30 mins) - Room 01 ground floor
17:30-18:30 Year One Academic Bluff  KNOLL - Media Lounge 4th floor
18:30-19:00 Graduating Students Presentations 15 mins each van HULSTEYN, CEPEDA - Media Lounge 4th floor
19:00-20:00 Opening Graduating Students  - Media Lounge 4th floor

Sunday, July 23, Section 1, Day 2
08:00-10:00 Workshops
10:00-11:30 Studio and research time 
11:30-12:30 Lunch
12:30-14:00 Studio and research time
12:30-13:00 Daily meeting (year two)
13:00-13:30 Daily meeting (year one)
13:30-14:00 Open office hours 
14:00-15:00 Workshops
15:30-16:30 Year One Short Critiques (4x3 students, 15 mins) - Media Lounge 4th floor
17:30-18:30 Artist Talk SENGMÜLLER Media Lounge 4th floor

Monday, July 24, Section 1, Day 3
08:00-10:00 Workshops
10:00-11:30 Studio and research time
11:30-12:30 Lunch
12:30-14:00 Studio and research time
12:30-13:00 Daily meeting (year two)
13:00-13:30 Daily meeting (year one)
13:30-14:00 Open office hours
14:00-15:00 Workshops
15:30-17:00 Yoga 
17:30-18:30 Year Two Extended Critiques (2x3 students, 30 mins) 
17:30-18:30 Year One Academic Bluff 

Tuesday, July 25, Section 1, Day 4
08:00-10:00 Workshops 
10:00-11:30 Studio and research time
11:30-12:30 Lunch
12:30-14:00 Studio and research time
12:30-13:00 Daily meeting (year two) 
13:00-13:30 Daily meeting (year one)
13:30-14:00 Open office hours
14:00-15:00 Workshops
15:30-16:30 Year One Short Project Plan Presentations (4x3 students, 15 mins) - Media Lounge 4th floor
17:30-18:30 Current Projects Series 15 min. each (ASCHEIM, BEAUDRY, BOOK) - Media Lounge 4th floor

Wednesday, July 26, Section 1, Day 5 
08:00-10:00 Workshops
10:00-11:30 Studio and research time
11:30-12:30 Lunch
12:30-14:00 Studio and research time. 
12:30-13:00 Daily meeting (year two)
13:00-13:30 Daily meeting (year one)
13:30-14:00 Open office hours CK
14:00-15:00 Workshop
15:30-17:00 Yoga 
17:30-18:30 Year Two Extended Critiques (2x3 students, 30 mins)
17:30-18:30 Year One Academic Bluff 
18:30-20:00 Workshop results (each WS presents 20 mins.) - Media Lounge 4th floor
ART DRAFT PROPOSALS DUE ON MOODLE FOR REVIEW

Thursday, July 27, (Day between Section 1 and 2)
Day off students
17:00 Meeting workshop teachers LATTNER, VECCHIO, HEWITT and directors


SECTION 2

Friday, July 28 Section 2, Day 1 
08:00-10:00 Workshops
LATTNER - Room 05 ground floor
VECCHIO - Room 01 ground floor
HEWITT - Media Lounge 4th floor
10:00-11:30 Studio and research time 
11:30-12:30 Lunch
12:30-14:00 Studio and research time 
12:30-13:00 NO Daily meeting (year two)
13:00-13:30 NO Daily meeting (year one)
13:30-14:00 NO Open office hours
14:00-15:00 Workshops
15:30-17:00 Yoga 
17:30-18:30 Year Two Extended Critiques (2x3 students, 30 mins) Room 01 ground floor

Saturday, July 29, Section 2, Day 2
08:00-10:00 Workshops
10:00-11:30 Studio and research time 
11:30-12:30 Lunch
12:30-14:00 Studio and research time
12:30-13:00 Daily meeting (year two)
13:00-13:30 Daily meeting (year one)
13:30-14:00 Open office hours
14:00-15:00 Workshops
Year One Short Project Plan Presentations (4x3 students, 15 mins) - Media Lounge 4th floor
17:30-18:30 Artist Talk VERWOERT - Media Lounge 4th floor

Sunday, July 30, Section 2, Day 3
08:00-10:00 Workshops
10:00-11:30 Studio and research time
11:30-12:30 Lunch
12:30-14:00 Studio and research time
12:30-13:00 Daily meeting (year two)
13:00-13:30 Daily meeting (year one)
13:30-14:00 Open office hours
14:00-15:00 Workshops
15:30-17:00 Yoga
17:30-18:30 Artist Talks
Section 2 Current Projects Series 15 min. each (HEWITT, VECCHIO, LATTNER) - Media Lounge 4th floor
18:30-19:30 Year Two Extended Critiques (2x3 students, 30 mins) 
18:30-19:30 Year One Academic Bluff - Media Lounge 4th floor

Monday, July 31, Section 2, Day 4
08:00-10:00 Workshops
10:00-11:30 Studio and research time
11:30-12:30 Lunch
12:30-14:00 Studio and research time
12:30-13:00 Daily meeting (year two) CK
13:00-13:30 Daily meeting (year one) CK
13:30-14:00 Open office hours CK
14:00-15:00 Workshops
15:30-16:30 Year One Short Critiques (4x3 students, 15 mins) 
17:30-18:30 Artist Talk KORBES - Media Lounge 4th floor
18:30-19:30 Year Two Extended Critiques (2x3 students, 30 mins) 
18:30-19:30 Year One Academic Bluff 
RESEARCH DRAFT PROPOSALS DUE ON MOODLE FOR REVIEW

Tuesday, August 1, Section 2, Day 5
08:00-10:00 Workshops
Meeting with teachers for coffee 10:30-11:00
10:00-11:30 Studio and research time
11:30-12:30 Lunch
12:30-14:00 Studio and research time. 
12:30-13:00 Daily meeting (year two) CK
13:00-13:30 Daily meeting (year one) CK
13:30-14:00 Open office hours CK
14:00-15:00 Workshops
15:30-17:00 Yoga
18:00-19:00 Workshop results (each WS presents 15 mins.)

Wednesday, August 2, Day between Section 2 and 3
Day off students
10:00-12:00 Faculty meeting, student assignments
12:00-13:00 Lunch
13:00-16:00 Faculty review of students project plans for planning sessions


SECTION 3

Thursday, August 3, Section 3, day 1
08:00-09:30 Seminars 
SÜETZL - Media Lounge 4th floor
COX - Room 05 ground floor
ZUMMER - Room 01 ground floor

09:30-11:30 Research time
11:30-12:30 Lunch
12:30-15:30 Research time
12:30-13:00 Daily meeting (year two)
13:00-13:30 Daily meeting (year one)
13:30-14:00 Open office hours
15:30-17:00 Yoga

Friday, August 4, Section 3, day 2
08:00-09:30 Seminars 
09:30-11:30 Research time
11:30-12:30 Lunch
12:30-15:00 Planning Sessions
SÜETZL - Media Lounge 4th floor
COX - Room 05 ground floor
ZUMMER - Room 01 ground floor
16:00-17:00 Collegium Meeting - Media Lounge 4th floor
17:30-18:30 Artist Talk KOLSTER/HOLZER - Media Lounge 4th floor
18:30-20:00 Research time
18:30-20:00 Open office hours

Saturday, August 5, Section 3, day 3
08:00-09:30 Seminars 
09:30-11:30 Research time
11:30-12:30 Lunch
12:30-15:30 Research time
15:30-17:00 Yoga
17:30-18:30 Current Projects Series 15 min. each (SÜETZL, COX, ZUMMER) - Media Lounge 4th floor
18:30-20:00 Research time
18:30-20:00 Open office hours 

Sunday, August 6, Section 3, day 4
08:00-09:30 Seminars 
09:30-11:30 Research time
11:30-12:30 Lunch
12:30-15:00 Planning Sessions 
17:30-18:30 Guest Lecture WOCHENKLAUSUR  - Media Lounge 4th floor
18:30-20:00 Research time
18:30-20:00 Open office hours

Monday, August 7, Section 3, day 5
08:00-09:30 Seminars 
09:30-11:30 Research time
11:30-12:30 Lunch
12:30-15:30 Research time
12:30-13:00 Daily meeting (year two)
13:00-13:30 Daily meeting (year one)
13:30-15:00 Open office hours
17:30-18:30 Graduation - Media Lounge 4th floor
18:30-20:00 Group Dinner