1578631

Leonardo

The Academy of Media Arts CologneAuthor(s): Heide HagebllingSource: Leonardo, Vol. 23, No. 2/3, New Foundations: Classroom Lessons inArt/Science/Technology for the 1990s (1990), pp. 319-321Published by: The MIT PressStable URL: http://www.jstor.org/stable/1578631 .Accessed: 17/02/2015 16:52

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ART/SCIENCE FORUM

The Academy of Media Arts Cologne Heide Hagebolling

CONCEPT AND STRUCTURE On 15 October 1990, the newly founded Academy of Media Arts Cologne, Germany, starts its first semester with 30 postgraduate students and international fellows in the field of new audio-visual media within three interdisciplinary sections: television/film, media art and media design.

The Academy of Media Arts has set as its goal the development of courses that unite artistic and creative competence with technical and scientific qualifications. In this respect, the academy will continue a tradition that has been strong in Germany since the turn of the century and that was pre- dominantly expressed by the philo- sophical idea of the Bauhaus: the link- ing of design not only with art but also with technological, scientific and industrial developments.

Artistic contributions to modern media point far beyond functional questions-they have to be seen as cultural questions in the widest sense. To an increasing extent, the newer media form our perception of the world. New techniques lead to im- proved quality of sound and picture, of which the development of high- definition television (HDTV) is one example. And in this respect the role of visual communication is still grow- ing. Education, professional communication and training, advertising, and information in public places are only a few instances where pictorial presentation is becoming a primary communication mode.

The invention of new technologies such as laser and digital disks, holography, computer graphics and animation, new telecommunication tools, the extension of powerful networks based on glass fibre and satel- lite communications-all this consid- erably alters our modes and codes of

Heide Hageb6lling (media designer, communication scientist), Kunsthochschule ffr Medien, Peter-Welter-Platz 2, D-5000 Cologne, Germany. Received 16July 1990.

communication. Not only do these new techniques give us greater access to information, they will provide us with completely new pictures, virtual images and worlds that will be charac- terized by the indigenous vitality of the new media. This means that the media artist and designer is con- fronted with new visual expressions, aesthetics and tools that are beginning to replace common forms of information exchange and design.

In this swiftly changing environ- ment it will be a prime concern of the academy to educate professionals who are capable of assuming re- sponsible roles in shaping the media landscape.

Against this background of rapid developments in the field of media technology, increasing media expo- sure and new forms of using media in everyday life-at work, in education and also in the creation and distribu- tion of artworks-new tasks are aris- ing. On the one hand, new media techniques have to be acquired; on the other hand, new critical concepts have to be established to help us un- derstand the achievements and im- pact of modern media on society. With regard to the consequences on artistic and cultural activities, three areas are of main interest: (1) the im- pact of new media on artistic and creative ideas and working processes; (2) the effects on the artifact and on communication conditions; (3) technological developments and their consequences on the education and profession of artists and designers.

In this respect the Academy of Media Arts follows new ways. In the frame of a postgraduate study that is also open to students and fellows from abroad, integral and interdisciplinary forms of learning and teaching will be developed to enable the student to use new media in a com- petent and creative manner. Realiza- tion of artistic development and research projects as well as close ties to professional experience are part of this approach. To meet these educational and professional goals, a two-

step concept was developed that will be completed by a course of study at the graduate level during the next several years.

Contemporary training is almost entirely oriented toward the tradi- tional manner of producing pictures by using photochemical film. Even video classes largely ignore modern techniques of producing and using pictures, nor is enough attention paid to the special requirements of television. Moreover, training in television organizations is technically oriented- the artistic and theoretical aspects of the craft are neglected. The result is that the training technicians are ig- norant of art, while the artists have little command of the technical possibilities. The manifold opportunities that the medium offers for conveying information and entertainment by means of pictures are seldom grasped. That a radical change will be achieved by the television organizations themselves can hardly be ex- pected.

The leading studios are well aware of the lack of creative competence in the new technologies, especially in the field of computer animation. One reason why German artists and designers have until now hesitated to make full use of the new media may be the high cost of technical equipment. It is true that many artists have worked in- tensively with video, which is simple to use and allows an immediate check of the picture, but few of them have concerned themselves with the technical possibilities of digital and laser techniques or holography. In other countries, in particular the U.S.A. and Canada, but also Great Britain and France, there has been less cau- tion; consequently, artistic develop-

Leonardo's Art/Science Forum features conference and meeting reports, reviews of group art and technology shows, course descriptions of interdisciplinary university teaching programs and descriptions of organizations dedicated to the interaction of art, science and technology.

? 1990 ISAST Pergamon Press pic. Printed in Great Britain. 0024-094X/90 $3.00+0.00 LEONARDO, Vol. 23, No. 2/3, pp. 319-322, 1990 319


ment has made greater strides in these countries than in Germany, which is still dependent on imports for its supply of media design.

If the Federal Republic of Ger- many hopes to make its own contribu- tion to the European television market of the future, it must give pri- ority to the training and fostering of available talent. In response to this need, two concepts are fundamental to the activities of the Academy of Media Arts:

1. The academy is to bring together visual and communication techniques on the one hand and creative design on the other. Artists, film- makers and designers will work together with technicians-it is hoped to their mutual advantage.

2. The curriculum will be coordi- nated with educational and vo- cational training courses at other universities and institutions in North Rhine-Westphalia. In the first phase, post-graduate studies and further education will be emphasized. These studies will be offered with the opening of the academy on 15 October 1990. At a later date, a foundation curriculum will be developed from the programmes existing at that time.

Thus, the work of the academy will include the following:

1. Planning the foundation curriculum.

2. Carrying out project courses for particularly well-qualified students in the fields of television/film, media art and media design. Duration: up to four semesters.

3. Carrying out development and research projects in the realm of art in close conjunction with project courses.

4. Organizing public events, exhibitions and projects of an artistic or academic nature.

5. Carrying out programmes of further education for artists, either alone or in cooperation with other institutions.

The curriculum is not intended to prepare the student for a particular job, but rather for particular fields of activity.

COURSE OF STUDY The foundation curriculum, which will be established in 3-4 years, will include basic courses in design, art and media techniques. At the same time students will have theoretical instruc-

tion that takes into consideration art- historical, cultural, sociological and psychological themes.

Projects carried out in the second half of the course of study will be de- signed to deepen the student's experience with a variety of artistic and technical possibilities. These projects will be accompanied by courses of a theoretical and academic nature, as well as media aesthetics and technology. Students will also be given the opportunity to concentrate on aspects of media work in which they are particularly interested.

Interdisciplinary projects will be the subject of the post-graduate courses that start in 1990. This stage of study will encourage a cooperative work style that allows students to concern themselves with related disciplines. Preferences also will be given to interdisciplinary development and research projects in which artists, scientists and technicians closely work together.

The Academy of Media Arts will also become a focal point for related courses at other institutions, and cooperation in organizing joint events are in preparation.

The course of study offers three closely connected main areas: television/film, media arts and media design, which focus on the creative use of pictures, sound, music and language in different media.

The following studios and laboratories are in preparation at the academy:

* video/film/HDTV * computer graphics/computer ani-

mation * telematics/telecommunications,

interactive media and systems * holography/lasers * photography * studio for multimedia applica-

tions (stage design/installations) * music/sound (electronic music,

also in cooperation with the Academy of Music, Cologne)

* graphic design desktop publish- ing/electronic printing

The creative courses will be accompanied by theoretical and technical themes. The following subjects will be offered in the framework of the course of study described above:

* history of art and media * cultural history and theory * aesthetics and philosophy * communication theory * media analysis * literature and linguistics

* informatics * media law/media economics * technical instructions

INTERDISCIPLINARY FIELDS OF STUDY Special consideration will be given to interdisciplinary realizations and artistic development and research projects. In this respect the academy fo- cuses its attention on the following areas of creative work:

* The electronic museum: experi- mental projects in the use of interactive media for art networks and information networks for museums (telecommunications, video disk, glass fibre networks)

* Fundamental principles in the design of new television systems: HDTV

* Media art in public places: for example, development of a multimedia subway station

* Use of public communication systems for artistic purposes (tele- phone, telefax, videotex systems, teleconferencing, etc.)

* Development of multimedia stage sets for television, theater, opera, etc. (video, holography, lasers)

* Research and development of programmes for hypermedia applica- tions and interactive media

* Research and computer-assisted procedures for script-based film animations

* New procedures in electronic painting and sculpture (scanner, plotter, process control)

STUDENTS, FELLOWS, FACULTY The academy requires a flexible per- sonnel policy. In addition to seven permanent posts, a wide range of tem- porary positions will be filled with per- sonalities from the film and media world. In addition, the academy is interested in inviting outstanding artists and media experts from abroad as vis- iting professors and fellows in the fields of media art, media design, television/film and science. During the first year, 30 students will attend the academy; with the beginning of the second academic year, 60 students will attend. The course of this postgraduate study will take 2 years, in- cluding the final project, which will lead to an academic diploma.

Applicants of outstanding talent who lack formal qualifications can be accepted as students at the academy.

320 Art/Science Forum


COOPERATION WITH UNIVERSITIES AND INSTITUTIONS Cooperation with other institutions is particularly important in the area of project work; for example, in develop- ing new forms of programmes or in designing entertainment programmes for television, the academy has to work together with broadcast companies. In this respect, Cologne is a favourable location. Advantage will also be taken of laboratories and studios, as well as relevant course offerings, at other universities-for example, the University of Cologne and the Academy of Music, both in close neighbourhoods.

Cologne's new Media Park is offer- ing further opportunities for cooperation, particularly with the companies that will settle there.

In addition to several contacts with German universities and cultural insti-

COOPERATION WITH UNIVERSITIES AND INSTITUTIONS Cooperation with other institutions is particularly important in the area of project work; for example, in develop- ing new forms of programmes or in designing entertainment programmes for television, the academy has to work together with broadcast companies. In this respect, Cologne is a favourable location. Advantage will also be taken of laboratories and studios, as well as relevant course offerings, at other universities-for example, the University of Cologne and the Academy of Music, both in close neighbourhoods.

Cologne's new Media Park is offer- ing further opportunities for cooperation, particularly with the companies that will settle there.

In addition to several contacts with German universities and cultural insti-

tutions, the Academy of Media Arts has already established working contacts with international institutions:

* Center for Advanced Visual Stu- dies, M.I.T., Cambridge, MA, U.S.A.

* Annenberg School of Com- munications, University of Penn- sylvania, Philadelphia, PA, U.S.A.

* UNESCO, Paris, France * Ecole Nationale Superieur des

Arts Decoratifs, Paris, France * Institut National de l'Audiovisuel

(INA), Paris, France * FEMIS, Paris, France * Royal College of Art, London,

Great Britain * Middlesex Polytechnic School,

Great Britain * Hochschule fur Angewandte

Kunst, Vienna, Austria The vitality of the academy also de-

pends to a large extent on the results of its projects being translated into practice. This process can be accel-

tutions, the Academy of Media Arts has already established working contacts with international institutions:

* Center for Advanced Visual Stu- dies, M.I.T., Cambridge, MA, U.S.A.

* Annenberg School of Com- munications, University of Penn- sylvania, Philadelphia, PA, U.S.A.

* UNESCO, Paris, France * Ecole Nationale Superieur des

Arts Decoratifs, Paris, France * Institut National de l'Audiovisuel

(INA), Paris, France * FEMIS, Paris, France * Royal College of Art, London,

Great Britain * Middlesex Polytechnic School,

Great Britain * Hochschule fur Angewandte

Kunst, Vienna, Austria The vitality of the academy also de-

pends to a large extent on the results of its projects being translated into practice. This process can be accel-

erated by cooperation with other institutions-for instance, with television, museums and other organizations as well as those concerned with the trans- fer of technology. Examples of this are the development of new forms of television programmes or the realiza- tion of interactive programmes for museums. The academy therefore should have the opportunity of marketing its products so that the proceeds of these activities can flow back to the academy.

There is at present no model for the concept described here. The Academy of Media Arts may itself come to be regarded as a model. Lo- cated in a media and art centre in the middle of Western Europe at a time when national borders are beginning to disappear, the academy is planned as a centre with European and international dimensions, which also will be reflected in its educational approach and partnerships.

erated by cooperation with other institutions-for instance, with television, museums and other organizations as well as those concerned with the trans- fer of technology. Examples of this are the development of new forms of television programmes or the realiza- tion of interactive programmes for museums. The academy therefore should have the opportunity of marketing its products so that the proceeds of these activities can flow back to the academy.

There is at present no model for the concept described here. The Academy of Media Arts may itself come to be regarded as a model. Lo- cated in a media and art centre in the middle of Western Europe at a time when national borders are beginning to disappear, the academy is planned as a centre with European and international dimensions, which also will be reflected in its educational approach and partnerships.

Symmetry of Structure: An Interdisciplinary Symposium, 13-19 August 1989

Arthur L. Loeb

Symmetry of Structure: An Interdisciplinary Symposium, 13-19 August 1989

Arthur L. Loeb

During the notable summer of 1989 in Eastern Europe, an international, interdisciplinary group of artists, scientists and other scholars con- vened in Budapest, united by a common interest in symmetry. About 150 papers were scheduled, of which some were not given and others were substituted. The meeting was spon- sored by the International Union of Crystallography, UNESCO, the Inter- national Computer Club of Moscow and other organizations on both sides of the crumbling Iron Curtain, and or- ganized by the Hungarian Academy of Sciences.

The illustrious L. Fejes Toth put Hungary on the map decades ago as a center of interest in symmetry. Artist Gyorgy Kepes's momentous Vision and Value series for Braziller forged bonds in the 1960s between art and science. Victor Vasarely's art is Arthur L. Loeb (design scientist, musician, vistial artist), Department of Visual and Ensironmental Sttudies, Harvard University, Cambridge, MA 02138, U.S.A.

Received II11 January 1990.

During the notable summer of 1989 in Eastern Europe, an international, interdisciplinary group of artists, scientists and other scholars con- vened in Budapest, united by a common interest in symmetry. About 150 papers were scheduled, of which some were not given and others were substituted. The meeting was spon- sored by the International Union of Crystallography, UNESCO, the Inter- national Computer Club of Moscow and other organizations on both sides of the crumbling Iron Curtain, and or- ganized by the Hungarian Academy of Sciences.

The illustrious L. Fejes Toth put Hungary on the map decades ago as a center of interest in symmetry. Artist Gyorgy Kepes's momentous Vision and Value series for Braziller forged bonds in the 1960s between art and science. Victor Vasarely's art is Arthur L. Loeb (design scientist, musician, vistial artist), Department of Visual and Ensironmental Sttudies, Harvard University, Cambridge, MA 02138, U.S.A.

Received II11 January 1990.

strongly based in symmetry. In recent years Istvan Hargittai, the guest editor of several issues of the Journal of Com- puters and Mathematics, of several books on symmetry and of the new journal Symmetry, has brought together practitioners of symmetry in a number of different disciplines.

The 1989 symmetry symposium in Budapest, however, was the creation of two young scientists, Gyorgy Darvas and Denes Nagy. With enormous energy, enthusiasm and devotion they were able to persuade such sym- metrists as J. J. Burckhardt of Switzer- land, Cyril Stanley Smith of the United States, V. A. Koptsik of the USSR and Theo Hahn and Werner Fischer from West Germany to partici- pate. The symposium was timed to fol- low the Eighteenth Congress of His- tory of Science in Hamburg and in turn was followed by the Twelfth European Crystallographic Meeting in Moscow. Several exhibitions were held in connection with the symposium, at the conference as well as

strongly based in symmetry. In recent years Istvan Hargittai, the guest editor of several issues of the Journal of Com- puters and Mathematics, of several books on symmetry and of the new journal Symmetry, has brought together practitioners of symmetry in a number of different disciplines.

The 1989 symmetry symposium in Budapest, however, was the creation of two young scientists, Gyorgy Darvas and Denes Nagy. With enormous energy, enthusiasm and devotion they were able to persuade such sym- metrists as J. J. Burckhardt of Switzer- land, Cyril Stanley Smith of the United States, V. A. Koptsik of the USSR and Theo Hahn and Werner Fischer from West Germany to partici- pate. The symposium was timed to fol- low the Eighteenth Congress of His- tory of Science in Hamburg and in turn was followed by the Twelfth European Crystallographic Meeting in Moscow. Several exhibitions were held in connection with the symposium, at the conference as well as

in several museums and galleries in and near Budapest.

The following, fairly arbitrary sample of titles presented at the symposium will give the reader an idea of the variety of backgrounds and inter- ests represented; I apologize that space limitations necessitate omis- sions.

Irving Adler, "A Growth Model of Phyllotaxis: The Dynamics That Pro- duce a Living Cell"

Hanan Bruen, "Wheel, Rondo and Mandela: The Circular Form and Its Variations as Foci of Research Processes for the Planning of an Inte- grative Curriculum in Polyaesthetic Education"

Giuseppe Cagliotti, "Broken Sym- metries in Science and Art"

Douglas Dunham, "Artistic Pat- terns with Hyperbolic Symmetry"

David Georges Emmerich, "Sym- metrical Stable Simplex: Introduction to the Resistance of Forms"

Pozzi Escot, "The Symmetry of Music"

in several museums and galleries in and near Budapest.

The following, fairly arbitrary sample of titles presented at the symposium will give the reader an idea of the variety of backgrounds and inter- ests represented; I apologize that space limitations necessitate omis- sions.

Irving Adler, "A Growth Model of Phyllotaxis: The Dynamics That Pro- duce a Living Cell"

Hanan Bruen, "Wheel, Rondo and Mandela: The Circular Form and Its Variations as Foci of Research Processes for the Planning of an Inte- grative Curriculum in Polyaesthetic Education"

Giuseppe Cagliotti, "Broken Sym- metries in Science and Art"

Douglas Dunham, "Artistic Pat- terns with Hyperbolic Symmetry"

David Georges Emmerich, "Sym- metrical Stable Simplex: Introduction to the Resistance of Forms"

Pozzi Escot, "The Symmetry of Music"

Art/Science Forum 321 Art/Science Forum 321


Article Contentsp. 319p. 320p. 321

Issue Table of ContentsLeonardo, Vol. 23, No. 2/3, New Foundations: Classroom Lessons in Art/Science/Technology for the 1990s (1990), pp. 165-338Front Matter [pp. 168 - 318]Editorial: Why New Foundations? [pp. 165 - 167]Programs for the Coming EraThe Two Cultures [pp. 169 - 173]Mind/Senses/Hand: The Generative Systems Program at the Art Institute of Chicago 1970-1980 [pp. 175 - 181]Perception and Notation: A Core Curriculum in the Arts [pp. 183 - 188]Art and Technology in Hungarian Education: Conflicts and Compromises [pp. 189 - 196]Steps toward the Evolution of a New Medium: Computer-Aided Art and Design [pp. 197 - 200]The Electric Media Conspiracy: Myths, Models and Metaphors for Learning through Art at the University of South Florida [pp. 201 - 207]Teaching as a Physicist at the School of the Art Institute of Chicago [pp. 209 - 214]Symmetry and Dissymmetry in Mathematics Education: One View from England [pp. 215 - 223]Art and Science for the Youth of New Mexico [pp. 225 - 226]An Artist-in-Residence Program in the Pennsylvania State University College of Engineering [pp. 227 - 230]

PoemsAbout the Give and Take of Tools [p. 231]

Classroom Lessons: Energy Use/Visualizing TimeHomographyHomography: Visualizing Time [pp. 233 - 240]

ElectrostaticElectrostatic Landscape [pp. 241 - 244]Letters from an Electrostatic Experimenter [pp. 245 - 250]

Color PlatesClassroom Lessons: Energy Use/Visualizing TimeElectrostaticsImage Generation Survey: Electrostatics [pp. 251 - 253]

InteractionInteractive Art and Cultural Change [pp. 255 - 262]Image Generation Survey: Interaction [pp. 263 - 265]

LightDimensional Hierarchies: An Artist's Perspective [pp. 267 - 269]Light: The Fire Lesson [pp. 271 - 272]Image Generation Survey: Light [pp. 273 - 274]

MagneticsImage Generation Survey: Magnetics [pp. 275 - 276]

SoundAn Audible-Constructs Primer [pp. 277 - 279]Temporal Notations: Four Lessons in the Visualization of Time [pp. 281 - 286]Image Generation Survey: Sound [pp. 287 - 290]

ThermographyImage Generation Survey: Heat [pp. 291 - 293]

CopiersCopiers, Motion and Metamorphosis [pp. 295 - 300]

ComputersC-itcoms: Visual Metaphors Written in the 'C' Programming Language [pp. 301 - 306]Cognition, Perception and the Computer [pp. 307 - 313]Image Generation Survey: Visualizing Time via Computers [pp. 315 - 317]

Art/Science ForumThe Academy of Media Arts Cologne [pp. 319 - 321]Symmetry of Structure: An Interdisciplinary Symposium, 13-19 August 1989 [pp. 321 - 322]

Current LiteraturePublications [pp. 329 - 332]Software Survey [p. 332]

Book Reviewsuntitled [p. 323]untitled [pp. 323 - 325]untitled [pp. 325 - 326]untitled [pp. 326 - 327]untitled [pp. 327 - 328]untitled [pp. 328 - 329]untitled [p. 329]untitled [p. 329]

International News and Opportunities for Artists [pp. 333 - 337]Back Matter [pp. 338 - 338]

1578631

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