DOCSLIB.ORG

Merz Akademie E-Brochure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Merz Akademie E-Brochure Merz Akademie University of Applied Art, Design and Media, Stuttgart nationally accredited UNIVERSITY UNIVERSITY Merz Challenging projects are supported by an Akademie international team of professors, outstanding facilities and individu - alized support. The Merz Akademie, a private, nationally accred- ited University of Applied Art, Design and Media was founded in 1918. It is conveniently located in southwest Germany, in the heart of Europe. At the core of all activities are the aesthetic, techni- staff and students are able to publish the results cal and cultural issues that arise from the intensive of their work. International guest professors are encounter and innovative interaction of design, art and integrated into our study program each semester to media. Student life on campus creates a vibrant at- teach and conduct creative seminars and projects. mosphere that is driven by the studies, creative work Exchange students can live on campus in communal and social life. Public events such as exhibitions, student apartments. Stuttgart is a student city that conferences, lecture series, symposia and design caters to a young, creative, design-orientated popu­­- markets are held regularly every semester. Research lation with an abundance of cultural and exciting activities and publications are closely related: both venues – museums, galleries, bars and clubs. STUDY GOALS STUDY GOALS Design Design, Art creates and Media change. To use theory as a tool Students learn the skills to create relevant and to apply technology con­­tent in the fields of Crossmedia Publishing, as a scientific thesis. Film and Video, New Media or Visual Communi- cation. They are able to design and transmit their own ideas and inclinations. The university sees itself as an experimental think- in the form of a fully realized work of design or art. tank that allows its students to integrate their The ability to critically reflect upon one’s own practice cultural, social and theoretical interests with their in relation to relevant aesthetic, cultural and academic design study. In addition to the necessary tech - contexts and to represent one’s artistic position in nical and aesthetic skills, students engage with the thought-provoking ways complements the acquired current critical discourse and theory relevant to knowledge of the graduates. Exchange students their chosen field of study. The goal is to be able to follow an individual study plan best suited for their implement the solution of a self-defined problem interests and needs. STUDY PROGRAM STUDY PROGRAM The goal of the Bachelor of Arts Bachelor program is to develop competence of Arts in design, art and media. The Bachelor of Arts program “Design, Art and Media” After an in-depth introduction to the subjects rigorous interest in media culture and cultural After the first semester and methods of Crossmedia Publishing, Film and theory is one of the most important features of the the students select Video, New Media and Visual Communication studies at the Merz Akademie. Collaboration one of the four fields of the students select one of the four fields of study beyond the boundaries of the individual study areas study: as their major. The core study program includes is made possible through elective and international Crossmedia Publishing, innovative and creative projects accompanied by workshops as well as interdisciplinary projects. Film and Video, subject-specific and general theory colloquia. Students combine art with theory and technology New Media and Visual Seminars and workshops supplement the program. in novel ways and learn to transfer their knowledge Communication. The combination of design curriculum with a into innovative projects. FIELD OF STUDY FIELD OF STUDY Crossmedia Publishing Research and publish in all media formats. Today’s media creators and publishers must have the competence to succeed in an ever-changing mediascape comprised of text, data, audiovisual and interactive web formats. Crossmedia Pub- lishing provides students with a strong practical and theoretical background to utilize all relevant media and technologies. From researching and authoring a story using the networking and public engagement; writing and tools of photography, film, audio and visual design, re­­porting; research and data journalism; and developing to exploring innovative technologies such as virtual innovative media content for apps and digital platforms. reality and live streams, students of Crossmedia Publishing draw from the established pathways Film Crossmedia Publishing empowers students to and Video, New Media and Visual Communication contend with some of the major issues of contem- to directly engage with the contemporary media land- porary media: engaging with evolving audience scape. behaviors using text and audiovisual media; platform In addition to learning from the established pathways, migration from print and desktops to smartphones students also pursue specific Crossmedia Publishing and future technologies; and the reorganization and areas of knowledge and practice, including: audio- disruption of established industries and professions. visual publishing (podcasting, streaming video and Students develop not only technical but theoretical livecasting); social media management; community and ethical frameworks for their Crossmedia practices. FIELD OF STUDY FIELD OF STUDY Film and Video Workshop courses The goal of Film and Video is to qualify students and exercises in artistic or creative competence in the area of provide practical time-based media, in particular film and video. training using digital video technology. The focus of the study is the analysis and aquisition of Workshop courses and exercises give the students Nature Morte the creative and technical process of film as well as practical knowledge in dealing with digital video tech- (Sophia M. Koegl) the electronic and computer-based audiovisual media nology, as well as experience in production planning Art film. of moving images. This is based on a comprehensive and development. The practical training provides insight examination of the history and theory of time-based into professional working spheres of time-based media, as well as history and cultural theory. In their media. Lectures, courses and excursions deepen the projects, students can assess and test documentary, knowledge about conception, financing and realiza- fictional, or experimental forms and their combination tion of films in television and cinema as well as in an (essays, documentary-fiction). art context. FIELD OF STUDY FIELD OF STUDY Due to the close alliance between teaching and New research, students can participate in national and Media international interface design research projects. Partly Cloudy (Max Wohlleber) New Media students do not simply create digital Do clouds on Apple surfaces. They draft tools of communication and maps block the view? conceive the qualities and usages of innovative An app provides per- technologies that are increasingly penetrating spective. our lives today. Students draft tools of communication. New Media understands digital tools as cultural for mobile devices, as well as physical computing. products, which can be called into question and Project work is centered around actual network and changed according to one’s need. Alongside seminars interaction concepts, based on current research in web design and application development, there and reflecting visions as well as ideals of design and are also courses in computational design, immersive networking pioneers. Open source ethics and do-it- environments, spatial interaction, interfaces and apps yourself principles also play an important role. FIELD OF STUDY FIELD OF STUDY Visual Communication Typography, illustration and photography are the three fundamental To define questions, analyze complex issues and visual languages. translate them into visual communication with the help of artistic and creative means – that is the object in this area of study. Visual Communication does not mean to enhance a photography are the three fundamental visual langua ges. At the core of visual given work by way of embellishing images. Instead, These are supplemented by spatial presentations communication it is about providing an independent and self-reflected of information (display and exhibition design), online and is conceptual design. communication content through visual education and offline design, for instance in screen design or media competence. At its center is the cultural, in the area of moving images media (animation, title social, economic, technological, political conception design). In addition, design history and theory are in combination with the formation of communication im portant foundations that provide students with a that captures the eye. Typography, illustration and great awareness for design decisions. STUDY PROGRAM STUDY PROGRAM Master of Arts The Master of Arts program “Artistic Research in Design, Art In interdisciplinary teams students acquire and Media”. and develop knowledge of various media The master’s degree goes far beyond classic study areas in order to encourage self-confidence formats. subject boundaries and comes into play at the junc­­­ both in their thinking and their own individual tion between applied art, human sciences, creative practice. At the same time, the personal digital humanities and artistic research. The program development of students is encouraged as they The goal of the accred- focuses on how aesthetic strategies develop learn
Load more

Recommended publications
  • CURRICULUM VITAE Teresa Hubbard 1St Contact Address
    CURRICULUM VITAE Teresa Hubbard 1st Contact address William and Bettye Nowlin Endowed Professor Assistant Chair Studio Division University of Texas at Austin College of Fine Arts, Department of Art and Art History 2301 San Jacinto Blvd. Station D1300 Austin, TX 78712-1421 USA [email protected] 2nd Contact address 4707 Shoalwood Ave Austin, TX 78756 USA [email protected] www.hubbardbirchler.net mobile +512 925 2308 Contents 2 Education and Teaching 3–5 Selected Public Lectures and Visiting Artist Appointments 5–6 Selected Academic and Public Service 6–8 Selected Solo Exhibitions 8–14 Selected Group Exhibitions 14–20 Bibliography - Selected Exhibition Catalogues and Books 20–24 Bibliography - Selected Articles 24–28 Selected Awards, Commissions and Fellowships 28 Gallery Representation 28–29 Selected Public Collections Teresa Hubbard, Curriculum Vitae - 1 / 29 Teresa Hubbard American, Irish and Swiss Citizen, born 1965 in Dublin, Ireland Education 1990–1992 M.F.A., Nova Scotia College of Art and Design, Halifax, Canada 1988 Yale University School of Art, MFA Program, New Haven, Connecticut, USA 1987 Skowhegan School of Painting and Sculpture, Skowhegan, Maine, USA 1985–1988 University of Texas at Austin, BFA Degree, Austin, Texas, USA 1983–1985 Louisiana State University, Liberal Arts, Baton Rouge, USA Teaching 2015–present Faculty Member, European Graduate School, (EGS), Saas-Fee, Switzerland 2014–present William and Bettye Nowlin Endowed Professor, Department of Art and Art History, College of Fine Arts, University of Texas
    [Show full text]
  • Judith Barry: Untitled: (Global Displacement: Nearly 1 in 100 People…) on View: January 17, 2018- June 27, 2018
    FOR IMMEDIATE RELEASE Judith Barry: untitled: (Global Displacement: nearly 1 in 100 people…) On View: January 17, 2018- June 27, 2018 Artist rendering on the Anne H. Fitzpatrick Facade BOSTON, MA (Dec. 2017) – For her forthcoming installation on the Isabella Stewart Gardner Museum’s Anne H. Fitzpatrick Façade, American born artist Judith Barry explored hundreds of drone images circulating the internet that depict people fleeing their homes and seeking a new life elsewhere. Her installation, untitled: (Global Displacement: nearly 1 in 100 people worldwide are displaced from their homes. Source: http://www.pewresearch.org/fact-tank/2016/10/05/key-facts-about-the-worlds- refugees/), is a collage of asylum seekers from around the world in an inflatable boat and will be on view beginning Jan. 17. “These images shot by drones are poignant reminders of the trust and hope that, even in the most dire circumstances, abiding human qualities remain”, says Barry. “Looking up, these asylum seekers greet the effortlessly hovering drone with a mixture of relief and elation – even though the drone is unmanned and not human, and even though the resulting encounter is no guarantee of a rescue or of entry into another country.” “There are hundreds of these images circulating on-line,” says Pieranna Cavalchini, Curator of Contemporary Art. “The refugee crisis is on-going and shows no sign of abating. For so many of these people, there is still no place that will welcome them. The crisis exists in this country, as well, as we witness the countless natural disasters displacing residents from their homes.” In thinking about a façade project for the Gardner Museum, the artist was struck by its shape.
    [Show full text]
  • Simon Penny Professor, Electronic Art and Design Department of Art, University of California, Irvine Resume April 2018
    Simon Penny Professor, Electronic Art and Design Department of Art, University of California, Irvine Resume April 2018 Simon Penny is an Australian artist, researcher, scholar and teacher whose work over 40 years has focused on the intersection between electronic/digital systems and embodied and materially engaged practices. This work has taken the form of technical R+D for innovative systems directed at embodied interactive experiences, culminating in new interactive art forms. He has published extensively on interactive and media art, has edited volumes, curated and produced exhibitions and directed and produced major conferences. Penny curated and produced Machine Culture - the first international survey of interactive installation- at SIGGRAPH 93 in Anaheim, CA - and edited the associated catalog and anthology. He edited the anthology Critical Issues in Electronic Media (SUNY Press 1995). He has spoken widely on Digital Cultural Practices around the world. His essays have been published in seven languages. Documentation and publications at simonpenny.net. His critical analysis of computer culture and AI engages phenomenology, cognitive science and philosophy of mind, anthropology and cognitive archeology. His current theoretical focus is on application of post-cognitivist theories of cognition to theorisation of art, design and cultural practices. This work culminated in the publication of Making Sense – Cognition, Computing, Art and Embodiment (MIT press 2017). In 2014, he began a new major project Orthogonal – the construction of an experimental 30’ (10m) asymmetrical outrigger sailcraft based in the design and dynamics of Micronesian voyaging canoes. The slogan of Orthogonal is design, build, sail, with a dash of anthropology. sites.uci.edu/orthogonal He teaches (and has taught) in a wide range of modalities, from studio/shop/lab classes (Gizmology and Kinetics, Mechatronic Art) to STS-oriented historical classes (From Steam to Steampunk – 200 years of Technoculture) to graduate seminars in Embodied cognition and the Arts.
    [Show full text]
  • Morgan Fisher
    Morgan Fisher Born 1942, Washington, D.C. Lives and works in Los Angeles, CA Education 1964 Harvard College, A.B. (1965) in Fine Arts; specialization in the history of 19th and 20th century art 1965 University of Southern California; work toward M.A. in Cinema. 1966 University of California, Los Angeles; work toward M.F.A. in Motion Picture Division, Department of Theater Arts. Selected Solo Exhibitions/Screenings 2014 Interior and Exterior Color Beauty, China Art Objects Galleries, Los Angeles, CA Maureen Paley, London, UK 2013 Interior Color Beauty, Bortolami, New York 2012 The Frame Beyond, Generali Foundation, Vienna, Austria Morgan Fisher: Conversations, Aspen Museum of Art, Aspen, CO 2011 Raven Row, London, England BFI Southbank Gallery, London, England Abteiberg Museum, Monchengladbach, Germany 2009 Portikus, Frankfurt, Germany 2008 China Art Objects Galleries, Los Angeles, CA 2007 Galerie Daniel Buchholz, Cologne, Germany 2005 China Art Objects Galleries, Los Angeles, CA “Standard Gauge: Film Works by Morgan Fisher”, Whitney Museum of American Art, New York, NY “Edge and Corner paintings,” Adamski, Gallery for Contemporary Art, Aachen, Germany The Films by Morgan Fisher, Tate Modern, London, England 2004 Galerie Daniel Buchholz, Cologne, Germany Städelschule, Frankfurt, Germany San Francisco Cinematheque, San Francisco, CA; films and lecture Cubitt, London, England Pacific Film Archive, Berkeley, CA Filmforum, Los Angeles, CA Greene Naftali, New York, NY 1 2002 “To See Seeing,” Neuer Aachener Kunstverein, Aachen, Germany (catalogue)
    [Show full text]
  • Iris B Chocolate
    Phone: +244 923 505 077 Email: [email protected] IRIS B CHOCOLATE Born in 1974, Schorndorf, Germany. Lives and works in Luanda, Angola. EDUCATION Communication--Design studies, Merz--Akademie Stuttgart, Germany. Main focus theory--text--conception by Prof. Diedrich Diederichsen. Camouflage Brussels European satellite of the center of contemporary art of Africa. Managing director, artistic assistant and administrator of two collections on contemporary African art (1999--2005). SOLO SHOWS 2019 Okufeti(ka), Jahmek Contemporary Art, Luanda, Angola 2016 A SUL. O SOMBREIRO, MAAN – Memorial Dr. António Madgermanes, Kunstverein Schwerin, Schwerin, Germany Agostinho Neto, Luanda, Angola Everything is Illuminated, performance Etimba Fest, Benguela, Angola 2015 AMIGO!, performance series, Luanda, Angola 2016 Highlights (representing Angola): Sights and Sounds: Global Film 2013 and Video. The Jewish Museum, New York, USA OS SONHOS DO EMBONDEIRO, Siexpo – Museu Nacio-- nal de História Natural, Luanda, Angola 2014 Sights and Sounds: Global Film and Video. The Jewish Museum, 2005 New York, USA LIKE A TEAR IN THE OCEAN, Camouflage project space, Brussels, Belgium 2010 II Trienal de Luanda, Geografias Emocionais, Luanda, Angola 2001 DAS LOS, Kulturforum Schorndorf, Germany 2009 National Museum Singapore, curador Tan Boon Hui, Singapura 1998 Art and Family, M1 Singapore Fringe Festival, curators Alvin Tan DAS GEWISSEN DES AUGES, Merz Akademie, Stuttgart, e Haresh Sharma, Singapore Germany 2007 I Trienal de Luanda, arte, cultura, política e história contemporânea,
    [Show full text]
  • Master of Arts Design
    LASALLE POSTGRADUATE PROSPECTUS MASTER OF ARTS DESIGN Duration: Full-Time — 1.5 Years (3 Semesters) Part-Time — 3 Years (6 Semesters) Award: Master of Arts Design Mode: Full-Time or Part-Time Classes will be conducted mostly in the evenings Intake: January 02 LASALLE POSTGRADUATE PROSPECTUS MA DESIGN 03 What is the role of design and the designer in today’s fast-changing “What does it take to prepare future designers who will design world? As technologies progress rapidly, so do the possibilities of and create the world to be understood? A world that demands what constitutes design expand. Along with the growth of societies, creative ideas beyond the typical boundaries of design. as communities re-imagine themselves, the designer’s canvas evolves as well from not only creating solutions, to preserving The MA Design Programme fosters a process of asking the values and thinking behind them in response to constrained valid, significant and complex questions, using an innovative resources as diverse needs increase. pedagogical approach that seeks to mediate between past and future, global and local, traditions and contemporaries. Therefore as design exists within an increasingly complex and The programme presents content which is underpinned interconnected world, we need to emphasise the social, environmental by relevant context. This is the starting point. Design and and downstream impact of designed products, services and systems. all its ramifications.” We will need to factor in not just market-driven forces and material possibilities, but what the making process itself means. This is Nur Hidayah, Dean, Faculty of Design why the practices of Design and Design Research are increasingly & Acting Programme Leader, MA Design important across industry contexts, whereby we rethink not only the makeup of the solutions, but the process of inquiry that generate those solutions as well.
    [Show full text]
  • CURA- TING CRI- TIQUE: 02 Issue # 09/11 : Curating Critique CONTENTS
    Issue # 09/11 Freely distributed, non - commercial, digital publication CURA- TING CRI- TIQUE: 02 Issue # 09/11 : Curating Critique CONTENTS / 5 FOREWORD MARIANNE EIGENHEER 7 CURATING CRITIQUE – AN INTRODUCTION DOROTHEE RICHTER AND BARNABY DRABBLE 11 MERZ-THINKING – SOUNDING THE DOCUMENTA PROCESS BETWEEN CRITIQUE AND SPECTACLE SARAT MAHARAJ 19 CURATORIAL CRITICALITY – ON THE ROLE OF FREELANCE CURATORS IN THE FIELD OF CONTEMPORARY ART BEATRICE VON BISMARCK 24 EXPERIMENTS ALONG THE WAY –I AM A CURATOR AND SUPPORT STRUCTURE PER HÜTTNER AND GAVIN WADE IN AN INTERVIEW WITH BARNABY DRABBLE 29 WORDS FROM AN EXHIBITION RUTH NOACK AND ROGER M. BUERGEL 32 FALSE ECONOMIES – TIME TO TAKE STOCK REBECCA GORDON NESBITT 39 GOING BEYOND DISPLAY – THE MUNICH KUNSTVEREIN YEARS MARIA LIND IN AN INTERVIEW WITH PAUL O’NEILL 43 THE CURATORIAL FUNCTION – ORGANIZING THE EX/POSITION OLIVER MARCHART 03 Issue # 09/11 : Curating Critique 47 EXHIBITIONS AS CULTURAL PRACTICES OF SHOWING: PEDAGOGICS DOROTHEE RICHTER 53 CURATING ART AFTER NEW MEDIA – ON TECHNOLOGY, TRANSPARENCY, PRESERVATION AND PLAY BERYL GRAHAM AND SARAH COOK IN AN INTERVIEW WITH BARNABY DRABBLE 59 PRODUCING PUBLICS – MAKING WORLDS! ON THE RELATIONSHIP BETWEEN THE ART PUBLIC AND THE COUNTERPUBLIC MARION VON OSTEN 68 ‘WE WERE NOBODY. WE WERE NOTHING’: SOUNDING MODERNITY & ‘MEMORIES OF UNDERDEVELOPMENT’ SARAT MAHARAJ AND GILANE TAWADROS 72 EASY LOOKING – CURATORIAL PRACTICE IN A NEO-LIBERAL SOCIETY UTE META BAUER IN AN INTERVIEW WITH MARIUS BABIAS 78 THE WHITE WALL – ON THE PREHISTORY OF THE ‘WHITE CUBE’ WALTER GRASSKAMP 04 Issue # 09/11 : Curating Critique CURATING CRITIQUE MARIANNE EIGENHEER, EDITOR BARNAY DRABBLE, DOROTHEE RICHTER, GUEST EDITORS The reader presents a cross-section of the voices that populate the ongoing debate about, on the one hand, how and in what terms curating functions as a critical cultural practice, and on the other, what methodologies and histories exist with which we can critically analyse curatorial work today.
    [Show full text]
  • Institution As Medium. Curating As Institutional Critique? / Part II
    01 Issue # 13/12 Freely distributed, non - commercial, digital publication INSTITUTION AS MEDIUM. CURATING AS INSTITUTIONAL CRITIQUE? / PART II Possible Encounters at Institution as Medium. Curating as Institutional Critique?, 2010, Kunsthalle Fridericianum, Kassel. Photograph courtesey of Kunsthalle Fridericianum. CONTENTS 02 Dorothee Richter, Rein Wolfs Editorial 18 Damian Jurt Scénarios 02 Dorothee Richter Some thoughts 23 Marysia Lewandowska and Neil Cummings Museum Futures: Live, Recorded, Distributed 05 Helmut Draxler Crisis as Form 28 Yael Eylat Van-Essen Institutional Critique and the 08 Beryl Graham Self-Institutionalisation: City Museum of Tel Aviv Who, in what kind of system? 32 Maja Ciric and Isin Onol Can Curating be Taught? 11 Giovanni Carmine, Hassan Khan Possible Encounters 02 Issue # 13/12 EDITORIAL Dorothee Richter, Rein Wolfs The second part of the publication for the symposium, Institution as Medium. Curating as Institutional Critique?, organised by the Kunsthalle Fridericianum and the Zurich Postgraduate Programme in Curating (Institute for Cultural Studies, Department of Cultural Analysis, Zurich University of the Arts), deals with notion of art-mediation and addressing publics in the realm of institutional critique. The question remains: how can a practice that intends to radically show the conditionality of art, its financial entanglements, and its function as a means of distinction, be related to institutions and curators’ activities therein? Is this not a contradiction in terms? The aim of the symposium was to explore these contradictions, as well as the possibilities and limitations of critical curatorial practice. Contributions by Giovanni Carmine, Maja Ciric, Neil Cummings, Helmut Draxler, Beryl Graham, Damian Jurt, Hassan Khan, Marysia Lewandowska, Isin Onol, Dorothee Richter and Yael Eylat Van-Essen.
    [Show full text]
  • Media.Art.Research
    FINAL REPORT Ludwig Boltzmann Institute Media.Art.Research. Ludwig Boltzmann Institute Media.Art.Research. Media. Art. Research. In the research program of the LBI Media.Art.Research., interdisci pli­ narity becomes part of everyday practice. Its research projects combine competencies from the fields of art history, cultural studies, media theory, media technology, and computer science. The structure of the institute thus corresponds to the complexity and diversity of its main theme: media art. Beyond this specialized field, the LBI positions itself at the intersection of the dialogue between the “two cultures” of the humanities and cultural studies, on the one hand, and the natural and technological sciences, on the other. The first part of the report presents the concept and the research pro­ gram of the Institute, as well as its events and publications. The indivi­ dual research projects are then introduced according to five topics, which constitute the basic elements of a methodology of media art research. LBI Media.Art.Research. Page 5 Partners of the Institute Page 12 A Picture of the Institute in Numbers Page 14 Workshops, 2005 – 2009 Page 15 Conferences, 2005 – 2009 Page 21 Media.Art.Research Award, 2007 – 2009 Page 29 Publications and Lectures Page 34 Team Page 48 Cooperations Page 51 Research Projects Page 52 1 LBI Media.Art.Research. ................................................................................................................... 5 1.1 Mission Statement....................................................................................................................
    [Show full text]
  • They May Call It Home
    Digital Societies Prof. Olia Lialina Thursday, October 24, 2019, 6:15–8:00 pm They may call it home The lecture is part of the main topic “Digital Societies” of the fellow period 2016–2020 at Collegium Helveticum. The title is borrowed from Tim Berners-Lee’s sarcastic remark on people’s first home pages, which he saw rather as garden gnomes than gardens. This attitude is as old as the WWW itself. While early web users were building their online worlds (realms, lairs and retreats), evangelists, IT and design worlds were making fun of these visions. The talk suggests to revisit old home pages to see what kind of digital society was in construction and what got unnoticed behind chaotic GIFs and loud MIDIs. Prof. Olia Lialina is born in Moscow and now based in Germany, Olia Lialina is among the best-known participants in the 1990s net.art scene – an early-days, network-based art pioneer. Her early work had a great impact on recognizing the Internet as a medium for artistic expression and storytelling. This century, her continuous and close attention to Internet architecture, “net.language” and vernacular web – in both artistic and publishing projects – has made her an im- portant voice in contemporary art and new media theory. Lialina is also known for using herself as a GIF model, and is credited with founding one of the earliest web galleries, Art Teleportacia. She is cofounder and keeper of One Terabyte of Kilobyte Age archive and a professor at Merz Akademie in Stuttgart, Germany. When Speaker Thursday, October 24, 2019 Prof.
    [Show full text]
  • Studieren in Baden-Württemberg Studium, Ausbildung, Beruf
    Studieren in Baden-Württemberg Studium, AuSbildung, beruf 2010 | 11 www.Studieninfo-bw.de » Alle Studiengänge in Baden-württemberg » AuSbildungen im überblick » Die wichtigSten infoS und Adressen ministerium für wissenschaft, forschung und kunst LIEBE LESERINNEN, LIEBE LESER, Sie stehen vor einer der wichtigsten Entscheidungen in Ihrem Leben. reife offenstehen, wobei sehr viele Studierende inzwischen über Welchen Beruf oder welches Studium sollen Sie wählen? Davon hängt berufl iche Wege die Hochschulreife erlangen. für Ihre persönliche Zukunft sehr viel ab. Den richtigen Weg der In Baden-Württemberg können Sie an mehr als 70 Hochschulein- Ausbildung oder des Studiums zu fi nden, fällt vielen nicht leicht, ist richtungen studieren. In den Betrieben und berufl ichen Schulen für manche sogar eine Herausforderung. Wir möchten Ihnen helfen, unseres Bundeslandes stehen Ihnen die ebenso vielfältigen wie die richtige Entscheidung zu treffen. Denn dieser jetzt anstehende unterschiedlichen Aus- und Weiterbildungsmöglichkeiten offen. Schritt soll zu Ihren Fähigkeiten passen und Ihnen möglichst gute Berufl icher Erfolg, Zufriedenheit und Engagement für Ihre berufl iche berufl iche Chancen eröffnen. Tätigkeit hängen davon ab, dass Sie Ihre individuellen Fähigkeiten Mit der Broschüre „Studieren in Baden-Württemberg – Studium, und Ihre Begabung gezielt einsetzen können. Dazu aber müssen Sie Ausbildung, Beruf“ halten Sie einen Wegweiser in der Hand, der diese Eigenschaften auch richtig einschätzen. Deshalb ist es ganz Sie auf dem Weg in ein Studium oder in eine berufl iche Ausbil- wichtig, dass Sie sich rechtzeitig und umfassend informieren und auch dung leiten soll. über Ihre eigenen Stärken, Neigungen und Talente klar werden sowie Zudem fi nden Sie inzwischen alle speziellen Informationen – wie über die Anforderungen und Inhalte der jeweiligen Ausbildung oder etwa die Details zu Studienmöglichkeiten und Ausbildungsange - des Studiums.
    [Show full text]
  • Framework for a Practice-Based Arts 3Rd Cycle Degree, Equivalent to a Phd –Intellectual Output 2 1
    CREATOR DOCTUS Framework for a practice-based arts 3rd cycle degree, equivalent to a PhD –Intellectual Output 2 1. Foreword 2. Introduction 2.1. About the Creator Doctus Project 2.2. Creator Doctus structure 2.3. Practice-based arts research 2.4. European reference points 2.5. National Research Frameworks 2.6. National and international networks 3. The 3rd cycle trajectory 3.1. Introduction 3.2. Development of a Research environment 3.3. Development of the practice-based arts research area 3.4. Relation to educational frameworks and existing research 3.5. Collaboration with the community partner 3.6. Research Programme accreditation 3.7. Research Programme title 3.8. Aims of the programme 3.9. Mode and length of study 3.10. Programme structure (modules, credits etc.) 3.11. Programme learning outcomes/ benchmark statement (e.g National framework, Tuning, ELIA/MusiQuE etc.) 3.12. Teaching & Learning strategy (super- vision etc.) 3.13. Assessment 3.14. Selection of candidates 3.15. Quality development and quality assurance Table of Contents 4. The National propositions from Gerrit Rietveld Academie - NL Glasgow School of Art - UK Athens School of Arts - GR l’École Nationale Supérieure d’Arts de Paris-Cergy - FR Vilnius Academy of Arts - LT The Royal Danish Art Academy of Fine Arts, Schools of Visual Arts - DK Merz Akademie - DE Table of Contents Foreword This document represents Intellectual output 2 of the Erasmus Strategic Partnership Creator Doctus and consists of two parts: Part 1: Outline description for a CrD model Why is there is a need for a Doctoral equivalent and how can it be achieved for the benefit of higher arts education institutions that are currently unable to fully participate artistic practice based 3rd Cycle study? This can also serve as a rationale for Ministries and Quality Agencies (national and international) and will be based on the discussions during the MULTIPLIER EVENT E1 in Athens in May 2019 during which major stakeholders debated and valorised the outcomes of the mapping exercise.
    [Show full text]