Video [1:19] - 2019
"IMAGE MEMORY" (2019):
publication (170 x 245mm, 742 pages)
Searching on Google isn’t "only" digital. It is also a very physical process of typing on a keyboard and a trail of digital traces ending in a physical hard drive in one of Google Servers engraving your search to all of your other searches in a disc. Learning and using InDesign-scripting (basil.js) in the seminar "Robobooks" by Ivan Weiss and Michael Kryenbühl(Johnson/Kingston) made a compendium of my as I call it „digital image memory“ possible. The huge amount of images and searches saved in my personal file in Googles data base, a framework downloading all of these images and an InDesign-script placing them and each’s information made this book possible. The pictures merge into each other and become one composite picture. A composite showing my own digital reference for the specific search term. Aesthetically they remind of other computer generated pictures. The highly saturated, unreal and often not natural colours and the pixels and digital fragments make them immediately recognisable as digital images. Through print they become materialized again, but cannot hide anymore that they have been stored or even made digitally.Sometimes even search terms melt into each other. In moments where I have multiple Google search tabs open in my browser the algorithm can’t decide to which search term the images can be connected. In the back the book an index of each of the images can be found, unedited and numbered. In addition Hito Steyerl’s "in defense of the poor image" the most important text of my research and heavily influential to the project.
postcard and pricelist (for book boy)
105 x 148 mm - 2019
"DRONE THEORY" (2019):
[series of 5] digital collages printed on mousepads (230 x 190mm)
Armed predator drones are seen as the weapon of the future. Beside making the fight more of a hunt they record everything they"see". Interestingly enough these horrifying disclosed videos leak to the internet where they spread and leak into pop culture. This project was made in the Seminar "Memetic Design" by Rasmus Svensson the thematic and the outcome were chosen autonomously. Laying own research (for example "Drone Theory" by Grégoire Chamayou) on the theoretical base of the seminar made a own motivation to realize a project not moralizing, judging or searching for a victim/predator in these messy complicated and highly connected field of drone warfare. The series of mousepads showing collages of horrifying leaked drone footage are an investigation of how we have become used to these images of destruction. At the same time they show the use of these aesthetics by the video game industry, but not only that gamer use mousepads but also the drone pilots themselves. Mousepads have become this symbol of a 9to5 in a cubicle in a big company wich is ironically the same everyday life of the drone pilots far away from the battlefields.
promotional postcard (for HfG Karlsruhe)
105 x 148 mm - 2018
"LASCAUX EXPERIENCE" (2019):
(with Sven Krahl)
workshop and reader
Starting with our mutual interest in low quality, easy access 3D-scanning technology, this workshop was about experimenting with 3D Scanning methods as a quick and easy to use visual creation tool for workshops and beginners. The workshops task was to translate a randomly assigned, very average Instagram post by an unknown account into something legible in thousands of years. First, trying to distill some meaning about our every day life out of these images, then using our reader to think about universal legibility by looking at prehistoric cave-painting from all around the world. Instead of preserving the participants designs / symbols by painting them on cave walls as in prehistoric times, we scanned them making these symbols indestructible by time. Using cellophane and spray paint we tricked the cheap 3D-scanning app and exploited its limitations. With the app not recognising the cellophane, we were able to make floating, three dimensional, distorted structures out of the sprayed symbols.
"NORMAN’S CARPET" (2019):
installation, poster, sound [13:34]
Originally a piece of the carpet in an old french holiday house formerly owned by British product-designer Norman Potter. Cut out, taken back home and analysed. The installation, made in James Langdon’s seminar “Werktreue” consists of a poster, a sound piece and the original piece of carpet on a thin pillar. Topic of the seminar was a discourse about how to design as a biographer. In the sound piece I ask question after question about the small piece of carpet, not trying to answer them but to let the viewer try to find his own answers. Going more and more in detail. Sometimes asking unknowable or even absurd questions, but never losing the small piece of carpet out of focus. The viewer can look at the poster and try to find answers in the magnified print or look at the original.
"ADORNO AND THE MEDIA" (2019):
(with Moritz Simon)
poster series of 4, flyer and exhibition graphics
The exhibition and conference "Adorno and the Media" was a collaboration of the ZKM Karlsruhe and the HfG Karlsruhe. Goal was to discuss Theodor W Adorno’s theory and legacy in a modern context and how the Internet has transformed the consumption of media. Thinking about Theodor W Adorno's theories in a modern and graphic design way we realised how the two of us often take pictures of screens or screenshot videos, websites and pictures, not thinking of image quality or the visibility of pixels. Going through the mass of these miscellaneous pictures we have sent each other, we chose those that reminded us of Adorno himself or his work. Choosing 2 pictures from this pool of pictures we made a poster wich we never printed. We transferred it to a low resolution screen and took pictures of it as we would do it when finding something interesting in the media we consume. This step also gives the viewer a glimpse into the making of our designs and our way of sending us concepts by photographing them from our screens. Making a reference to the publishing house of most of Theodor W Adorno's books Suhrkamp we used their signature colour combinations for the duotone of our posters. The flyers for the exhibition, wich also were program-leaflets, are printed in German and English with the same recognisable color combinations as the posters. We also made matching exhibition and conference graphics for the event, using the same approach.
Video [1:19] - 2019
Video [1:19] - 2019