Credit Points (ECTS points) are assigned two times a year, at the end of each semester and before the presentations. Each credit point represents 28 hours of ‘study load’. Students (both Bachelors and Masters) should earn a total of 60 credit points per year. Part of the courses are obligatory, other courses can be chosen regarding certain rules and besides that there are a number of credit points for elective courses or alternative study related activities (this is called the individual study trajectory (IST) or portfolio).

Credit points for participation in courses, MediaTechnology courses,KABK and KC courses are assigned on the basis of the evaluations given by the teachers of those courses.

The credit points for the individual study trajectory are assigned on the basis of written reports or other forms of project documentation. The student is expected tocheck beforehand with his/her coach whether the activity is applicable for IST. Afterwards, the IST report is evaluated by the coach and the head of department.

* The ‘ArtScience Courses of Choice’ in the curriculum can be chosen from all the courses offered by the department (or in collaboration with KC/KABK) that are mentioned in the Course Descriptions (including those in the Exchange Weeks with Sonology and Composition). The student is required to follow enough courses to obtain the amount of ECTS as mentioned in the Curriculum of his/her year of study. Eventually, other courses within KC/KABK and MediaTechnology (Leiden University) can alternatively be taken, but only after prior approval by coach or head of department and to a maximum of 6 ECTS.

ArtScience B1 Curriculum
ArtScience B2 Curriculum
ArtScience B3 Curriculum
ArtScience B4 Curriculum
ArtScience M1 Curriculum
ArtScience M2 Curriculum

ArtScience B1 Curriculum	ECTS
Ars Electronica	1
Art & Philosophy	2
Beating Gravity at Its Own Game. Let’s Reject the Laws of Physics and Devise Our Own	2
Introduction to ArtScience	1
Introduction to Electronics	1
Introduction to Programming	4
Intro Projection	2
Lighting as/for Performance	2
MetaMedia	2
The ‘Other’ Senses	2
Quick & Dirty	2
SoundWorlds	4
New Arts & Music Theory (Semester 1+2)	3
B1-Meetings (Semester 1+2)	2
Manic Mondays	4
IST	1
Semester 1 Presentation	8
Midterm Presentation (Semester 2)	2
Semester 2 Presentation (Propaedeutic Exam)	15
Total	60

ArtScience B2 Curriculum	ECTS
ArtScience Courses of Choice*	22
Studium Generale (Semester 1+2)	1
B2-Meetings (Semester 1+2)	1
Manic Mondays	4
IST	7
Semester 1 Presentation	8
Midterm Presentation (Semester 2)	2
Semester 2 Presentation	15
Total	60

ArtScience B3 Curriculum	ECTS
ArtScience Courses of Choice*	18
Professional Practice Preparation	2
B3-Meetings (Semester 1+2)	1
Manic Mondays	4
IST	10
Semester 1 Presentation	8
Midterm Presentation (Semester 2)	2
Semester 2 Presentation	15
Total	60

ArtScience B4 Curriculum	ECTS
ArtScience Courses of Choice*	10
B4-Meetings (Semester 1+2)	1
Manic Mondays	4
IST	12
Bachelor Thesis	8
Semester 1 Presentation	8
Preview Exam	2
Semester 2 Presentation (Final Exam)	15
Total	60

ArtScience M1 Curriculum	ECTS
ArtScience Courses of Choice*	18
Ars Electronica	1
Introduction to ArtScience	1
M1/M2-Meetings (Semester 1+2)	4
Manic Mondays	4
IST	7
Semester 1 Presentation	8
Midterm Presentation (Semester 2)	2
Semester 2 Presentation	15
Total	60

ArtScience M2 Curriculum	ECTS
ArtScience Courses of Choice*	8
M1/M2-Meetings (Semester 1+2)	4
Manic Mondays	4
IST	11
Master Thesis	8
Semester 1 Presentation	8
Preview Exam	2
Semester 2 Presentation (Final Exam)	15
Total	60

Courses 2017-2018

This is an overview of ArtScience courses given this Academic Year, subject to the ‘ArtScience Courses of Choice’ stated in the curriculum. Some courses are mandatory for students of certain years, which is mentioned at the course description. All courses are open for students of the Bachelor as well as the Master programme. In occasional situations, only limited numbers of students can attend a certain course. This will be mentioned with the description.

CASS Exchange Workshops are part of the exchange weeks (two weeks after the Autumn Break and two weeks after the Spring Break) between the Creative Departments of the Royal Conservatoire (Composition, Sonology and ArtScience), where all departments offer courses accessible to all of their students.

Master Primers are courses on a higher theoretical level. They are focused on our Master students. Bachelor students can attend, though they should realise the level. In cases of a limited allowed number of students to a Master Primer course, Masters will have priority over Bachelors.

Alter Ego
Alternate Perspectives
The Apparatus: Why Cool Is Not Hot
Ars Electronica
Art & Philosophy
Beating Gravity at Its Own Game. Let’s Reject the Laws of Physics and Devise Our Own
Complications Occurred: A Graphic Design Speed Course
Energy Participation Affect Sensation Feeling Emotion Cognition Resonance Feedback Movement
From App to Artwork
How to Write for Grants, Catalogues, Sponsors and Press
Introduction to ArtScience
Introduction to Electronics
Introduction to Programming
Intro Projection
Lighting Design for/as Performance
Live Life, Life Live #4
MAX/MSP
Media + Violence
MetaMedia
Mildly Interesting Workshop
Modifying Mental Projections
Movement Matters 2.0
New Arts & Music Theory
The ‘Other’ Senses
‘Patafysica
Presentation as Performance
Pro Projection
Quick & Dirty
RecPlay
Redeconstruct Media
Rotating Loudpeaker Workshop
Sensing the Shipyard. Being among the Living Machines
Sensors, Actuators & Microcontrollers
Smell and Art. An Introduction to the Artistic Use of the Smell Medium
SoS (Sense of Self)
SoundWorlds
SoundWorlds 2: Sounding Space, Spacing Sound
Spectra – Space as an Organism (2)
Studium Generale
Synchronicity
T3C – ArtScience and the Social Turn
Writing as/in Research

Alter Ego
Sanne van Rijn
Mandatory for: free choice

During the Alter Ego course you will be invited to work within the methodology of another artist (a colleague student). Explore someone elses fascinations, methods of working and materialisations.
Become someone else for a couple of weeks, make someone elses work and teach another student how to be you. This course will not only learn you how to investigate other people’s ways of working, you will also get more grip on the hidden methodologies of your own creative process.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To gain understanding in general and personal creative methodologies.
Examination: attendance, assignment

Alternate Perspectives
Renske Maria van Dam
Mandatory for: free choice (Master Primer)

Early 20th century Russian painter-architect El Lissitzky started to use axonometry to eliminate all reference to the spectator’s point of view. Liberating the viewer from gravity, he hoped, would lead to foundering of the whole system of perception and our established ways of looking upon the world. Almost a century later, following contemporary media, we can see signs of the world’s center of gravity literally shifting. Migration, globalization and digitalization question Western/Europe’s centrality. In 8 session of 3 hours we will explore alternatives to Eurocentric philosophical discourse to reconsider our own habits. We start with the work of philosopher Sophie Bósèdé Olúwolé as an introduction to African Philosophy. Collectively we decide how and where to continue. This course trains you to ‘liberate your point of view from gravity’ and look upon the world from multiple perspectives at the same time. Philosophy in this course is considered to be a creative practice. Thus inspired by philosophical texts you will be challenged to put your thoughts into action.
Literature (selected chapters from):
Olúwolé, S. B. ( 2014) Socrates and Òrúnmìlà.: Two Patron Saints of Classical Philosophy. Lagos: Ark Publishers.

Credits: 2 ECTS
No. of classes: 8 classes of 3 hours
Objective: To shift the bias from the Western cultural discourse into a wider perspective.
Examination: attendance, assignment

The Apparatus: Why Cool Is Not Hot
Arthur Elsenaar
Mandatory for: free choice

A thourough investigation of the Apparatus as an object, a concept and a tool. More information to follow.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To develop a new view on how to deal with tools.
Examination: attendance, assignment

Ars Electronica
Robert Pravda, Taconis Stolk, teachers from MediaTechnology (Leiden University)
Mandatory for: B1, M1

Excursion to the Ars Electronica Festival in Linz, Austria: one of the most prominent festivals of new media art in the world.

Credits: 1 ECTS
No. of classes: excursion of approx 4 days
Objective:: To get a first contact with the context of the ArtScience realm and to get to know your fellow students
Examination: attendance

Art & Philosophy
Rob van Gerwen
Mandatory for: B1

Philosophical questions typical for interdisciplinary arts are just like those asked about the arts, traditionally so-conceived. Only with an interdisciplinary art, these questions tend to be more complicated and intertwined. Working from examples, we delve into the philosophy of art in an effort to understand what artscience is, or what it might be.
We look at questions such as: What is artistic material, what should happen for material to become artistic? How does something become a work of art? How do we find out what a work means—how can we discuss about such meanings: isn’t it all very subjective? How may we experience a work in the most fruitful manner—can someone teach you to discern something in a work which you failed to notice on your own? How can art forms be distinguished from each other, and why is it important to think about this? What are the differences between art and real-life, between art and science? Students are challenged to make a work with these questions in mind.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To gain basic understanding in philosophical issues when making art
Examination: attendance, assignment

Beating Gravity at Its Own Game. Let’s Reject the Laws of Physics and Devise Our Own
Zoro Feigl
Mandatory for: B1

Approach the world of materials in a playful way to create the mesmerising and the imposiible. More information to follow.

Credits: 2 EXTS
No. of classes: 4 classes of 6 hours
Objective: To develop playful approaches towards materials.
Examination: attendance, assignment

Complications Occurred: A Graphic Design Speed Course
Márton Kabai, Manus Nijhoff
Mandatory for: free choice

First, an explosion.
When it had come to a stop we moved on, navigating through the fragments. Scraping off the old while planting the new. Caring for casualties while making the ways through which we developed our alien concepts. We found forms never before considered and organised them in ways we hadn’t foreseen. As the end got near, we gathered our wits, while wallowing in the new soils of the graphic design practice.
During this workshop of four days, we will learn that the function of graphic design is not only problem solving but also asking a question or pointing to another problem. We would like to show that graphic design is a practice that borrows analytical and practical methods of artistic and scientific practices and has a wide range of ways and forms in which it operates. Our general aim is to guide, navigate, help the students to find their own ways to think in processes, tools and technologies in an analytical or metaphorical way. Eventually, we will encounter the confusing process of translation of an idea / concept / story into a work / book / movie. We will also learn that the ‘outcome’ of the workshop is more to discover methods of awareness, style and criticality.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: This workshop is structured to mimic the skills necessary to be an independent graphic designer. In four days, its cycle moves from the initial explosive chaos of creation to a calmer state of discovery, reflection and navigation and finally the organising as well as shaping of these findings.
Examination: attendance, assignment

Energy Participation Affect Sensation Feeling Emotion Cognition Resonance Feedback Movement
Eric Kluitenberg
Mandatory for: free choice (Master Primer)

This course will unpack one sentence: “Energy as a potential for interaction precedes Participation (in an event), which itself comes before Affect (Massumi) and constitutes the move towards Sensation, at which point it becomes accessible as a Feeling to consciousness and ready to be translated into Emotion, while simultaneously setting in motion Cognition, which creates its own particular Resonance and Feedback with affect, generating a new potential for affecting others through Movement of bodies, feelings, and thoughts.”
We proceed from only one text: The Autonomy of Affect by Brian Massumi (2002).

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To explore Affect through embodied action in space.
Examination: attendance, assignment

From App to Artwork
Esther Polak
Mandatory for: free choice

During this course, you are challenged to make a work of (media) art that uses an existing mobile phone app as its starting point. You can pick an existing app, or you can even imagine one.
Essential is that the app chosen resonates with your artistic passion. So if your passion is “interaction” this determines your choice. If you are fascinated by “data collection,” this determines your choice. If you are obsessed with some notably kind of animal, that determines your choice. You have to be able to articulate your choice and its relation to your passion. The method, style or logic behind your reasoning is open. You will be expected to present this on Monday at the end of the day or Tuesday morning.
On Friday after lunch, your exploration of the app needs to have been resulted in either a finished work or a presentable concept. During your process and as part of the final presentation on Friday afternoon, it is important that you can contextualize your work with -at least one- art-historical reference. To give an example: if you use a dating app as your starting point (because your passion is interaction), you are expected to relate your work method or the work itself to an artistic reference. This reference could be for example a film of François Truffaut (not very obvious) or to the online net-art project http://www.face-to-facebook.net/ (more obvious) Both would have been ok, as long as you can express the reason how this reference has been relevant to you.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To develop skills and insight in how to make artworks in digital media.
Examination: attendance, assignment

How to Write for Grants, Catalogues, Sponsors and Press
Ine Poppe
Mandatory for: B3

As the Professional Practice Preparation course of ArtScience, this week offers specific training in writing, focusing on how to write clearly about your work for grant applications, catalogues and to sponsors and press.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To learn practical professional writing skills.
Examination: attendance, assignment

Introduction to ArtScience
Taconis Stolk
Mandatory for: B1, M1

This course is an introduction to important developments through the history of the arts that are important to the ArtScience domain. Five approaches to interrelate selected art works will be presented in class. The presented works range from realized and unrealized artworks to concepts. The five approaches are chosen in such a way as to trigger discussion and reflection both on existing works and your own work.

Credits: 1 ECTS
No. of classes: 2 classes of 6 hours
Objective: To gain basic contextual understanding of the ArtScience domain.
Examination: attendance, participation

Introduction to Electronics
Lex van den Broek
Mandatory for: B1

This is a general introduction to working with electronics. It consists of three introductory classes. After those you are expected to finish your first electronic patch in individual appointments with Lex van den Broek.

Credits: 1 ECTS
No. of classes: 4 classes of 2.5 hours plus individual appointments
Objective: To gain fundamental skills in how to build electronic circuits for artistic purposes.
Examination: attendance, assignment

Introduction to Programming
Jeroen Meijer
Mandatory for: B1

This is an introductory course into computer programming, using the Python language. After following this course, students will have a basic insight into computer programming and will know where to start creating digital prototypes for future projects that involve interaction, image, sound, video, networks and electronics.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To learn the basics of computer coding.
Examination: attendance, assignment

Intro Projection
Teachers
Mandatory for: B1

The intention of this course is to experiment in a playful way with projection in relation to your work. Besides displaying computer- and video images, projection is often used to define a space or, for example, to enhance the meaning of an object in a space. Also shadow and coloured light can be interpreted as projection.
As an assignment, you will be asked to make a projection design that connects with your own work and/or ideas.
keywords: •projecting on objects •surfaces •live playing •how to use audio signals •no-source •feedback video •minimal projection •ganzfeld projection •we’ll also briefly look into how tv’s, videorecorders and analog video mixers work.
For students who followed an earlier projection course, there will be some new topics to look into, such as video mapping, high quality projection and the use of the more advanced digital video mixers that combine analog and digital image sources.
Due to the available amount of equipment, there’s a limited number of students that can enrol.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To learn the basics of projection for artistic experiments.
Examination: attendance, assignment

Lighting Design for/as Performance
Katinka Marač
Mandatory for: B1

The goal of this course is to give an introduction to the theory and practice of lighting design and handling basic stage equipment. We will explore how meaning can be created using the exceptional possibilities of the medium light and how lighting design can be deployed in / as performance. During the course we’ll trace back the origins of lighting design in contemporary performance, by looking into the work and compositional methods of renowned American artists from the sixties and seventies and some of their contemporary predecessors as Xavier le Roi. In the seventies artists as Robert Rauschenberg and members of the New York based Judson group shared a keen interest in working at the intersection of (dance) performance, visual art and art & technology. They drastically changed (theatrical) performance, and the role of set and lighting design, freeing it from its former supportive role and incorporating them as equal elements in, or as starting points for performances. The course is set up as a creative lab. We’ll start with a short introduction in the various elements of a lighting design, including types of light, angles and colour and an introduction to technical aspects such as patch board, dimmers and the lighting board. We’ll research how lighting design can be used to create, structure and alter content, space and time and will work on lighting design as performance.

Credits: 2 ECTS
No. of classes: 4 classes of 8 hours
Objective: To master theory and practice of basic lighting design for artistic purposes.
Examination: attendance, assignment

Live Life, Life Live #4
Lucas Evers et al
Mandatory for: free choice

Bio Art course in collaboration with the Open WetLab at De Waag, Amsterdam. More information to follow.
Keep in mind that this workshop will partly take place in the Open Wetlab at the Waag in Amsterdam and that these travel expenses are for your own costs.

Credits: 2 ECTS
No. of classes: 8 classes of 3 hours
Objective: To learn how to deal with biological material in the context of art.
Examination: attendance, assignment

MAX/MSP
Johan van Kreij
Mandatory for: free choice

An introductory course for the graphical programming environment MAX/MSP. More information to follow.

Credits: 2 ECTS
No. of classes: 8 classes of 3 hours
Objective: To learn the basics of MAX/MSP.
Examination: attendance, assignment

Media + Violence
Dani Ploeger
Mandatory for: free choice (Master Primer)

There is a notable difference between recent Islamist terror attacks in Europe and previous instances of religiously motivated terrorism in Europe and North-America since 2001: Whereas previous incidents have almost exclusively been associated with Improvised Explosive Devices (i.e. self-made bombs), the recent attacks have been characterized by the (re)introduction of the icon of the battlefield warrior (operating assault weaponry) in media contents and everyday life in the Global North.
This practical and theoretical course explores this paradigm shift in representations and experiences of violence through both analogue and digital media (blank guns, blood FX and computer games) in the context of cultural critical reflection and technology-based art practices.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To gain insight in the relationships between art and violence.
Examination: attendance, assignment

MetaMedia
Taconis Stolk
Mandatory for: B1

A work of art does not confine itself to an object, a picture or a sound composition. Especially not in the 21st century, where all kinds of communication technologies and strategies can be used to compose the context of art, or even to create works in disciplines and using methods that were never explored by artists before. In this course, students are given a theoretical and practical framework on how to compose concepts and context. Approaching contemporary art as a conceptual communication model opens possibilities for unusual works of art and a critical attitude towards traditional artistic paradigms, but it also creates a framework for students to develop new and effective strategies for a professional creative position in a media world. Students will create their own metamedial works during the course.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To develop a more abstract view on possibilities of artistic expression using media that are not normally used in an artistic manner.
Examination: attendance, assignment

Mildly Interesting Workshop
Jonas Lund
Mandatory for: free choice

Welcome to 2017, where everything is weird and no one really seems to understand what’s going on, perhaps we got confused by too many clickbaits fake news articles in our Facebook feed, or perhaps we just stopped reading and listening all together? Well, fear not, the Mildly Interesting workshop will get us back up to speed by looking closer into the different aspects of the political and social media climate online that has risen up in the last year and how they try and get your attention and influence, discussing among other things, fake news, filter bubbles, internet of things, trolls, dark patterns, confirmation bias, artificial super intelligence, 4chan, crypto currencies, ICOs, algorithms and botnets.
After an introduction day where we look at a wide range of examples of art works and pieces that all attempt to deal with and subvert the current social and political situation, the workshop participants will be tasked with producing their own art work that incorporate some of the things that is discussed.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To learn to understand and react artistically on contemporary phenomena in the world.
Examination: attendance, assignment

Modifying Mental Projections
Roel Heremans
Mandatory for: free choice (CASS Exchange Workshop)

In this hands-on workshop we will research the possibilities sound has in creating input for imagination.
Starting from a chosen structure or location, we will explore how to combine voice, rhythm, movement and touch into a composed, participatory performance.

Credits: 2 ECTS
No. of classes: 5 classes of 6 hours
Objective: To learn and work with mental projections as a medium for art.
Examination: attendance, assignment

Movement Matters 2.0
Cocky Eek, Renske Maria van Dam
Mandatory for: free choice

We do not move through space but space moves through us. MOVEMENT MATTERS 2.0 is a two week hands-on course to explore the Japanese concept of space-time. In the West space and time are understood as the empty distance between two objects or moments. Space-time in Japan is understood as a charged field, a dynamic spatiotemporal interval. Conceptualized in a single word Ma.
In two weeks we will revisit the exhibition Ma: Espace Temps du Japon as originally imagined by Japanese architect Arata Isozaki and presented in 1978 in museum Les arts decoratifs in Paris. In collaboration with Japanese fine artist, dancers and musicians Isozaki presented seven ways to address Ma in art and design. In this course we will work on a new version of this transdisciplinary exhibition/experience by connecting it to our own context and interests. We will work individually as well as collectively towards a final presentation at the last day of the course. Prepare to be fully committed during the two weeks. Classes from 10.00-16.00 including preparation in evenings or/and on Wednesdays. For more information (for example original exhibition catalogue) contact r.vandam [at] kabk.nl or c.eek [at] kabk.nl.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To develop new artistic visions on space.
Examination: attendance, assignment

New Arts & Music Theory
David Dramm (KC), Gabriel Payuk (KC), Eric Kluitenberg et al
Mandatory for:

This course is offered to all first-year students of ArtScience, Composition and Sonology. It provides a cross-disciplinary exploration of recent ideas, practices and techniques in music and related arts: verbal, visual, theatrical, and much else. New forms of creative practice and new platforms for its presentation are investigated, ranging from the conventional concert hall to the alternative spaces of galleries, installations, site-specific composition, the internet, etc. The relationship and the “fit” between new forms of thought and new forms of presentation will be a recurring topic throughout the course, as will the challenge of writing about such new media in the face of an evolving and still-developing critical language that attempts to avoid irrelevant criteria from past art forms.

Credits: 3 ECTS
No. of classes: approx 24 classes of 2 hours
Objective: To gain knowledge on recent theories and ideas in music and related arts and sciences.
Examination:

The ‘Other’ Senses
Caro Verbeek
Mandatory for: B1

The senses of smell, taste, touch and proprioception are powerful tools for engaging an audience in an intimate and often interactive way. They require little knowledge and they are strong inducers of vivid memories.
Whereas sound and vision always gained a lot of academic attention, the so called ‘lower’ senses only recently (re-)entered the artistic debate. The ArtScience Interfaculty, formerly known as the Institute for Image and Sound, underlines the importance of those other senses that go beyond our traditional occularcentric approach.
This course is about creating awareness and understanding of the role of the ‘other’ senses – smell, touch and taste – in (history of) art, education and science.
For they are not as divided as we assume, the correlation between the senses will also be addressed (synaesthesia).
Due to their animalistic nature important thinkers like Plato, and later on Kant and Hegel excluded the lower senses from the aesthetic debate. As a counter-reaction famous artists like Marinetti and Duchamp and composers such as Scriabin incorporated olfactory and tactile dimensions to their work. Unfortunately this quite volatile heritage was partially lost due to its fleeting nature and the impossibility of registering and preserving smells, tastes and tactile experiences. Museums and other institutes that address vision, have always been primed to collect and conserve. That is why many tactile and olfactory works of art never made it into written history. Anthropologists, art historians and other academics are now working on a reconstruction.
During classes students will encounter sensory art historical reconstructions to stimulate debate on the senses and as an inspiration to create small olfactory and tactile compositions. A colour-smell synaesthesia test will be executed on the first and the last day of the course.
Furthermore there will be a linguistic translation of a Futurist tactile poem, and an olfactory-musical recital composed by Scriabin.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To develop knowledge about artistic practices for other human senses than the usual sight and hearing.
Examination: attendance, assignment

‘Patafysica
Matthijs van Boxsel
Mandatory for: free choice

Morosophers are people with an evidently absurd theory about existence. Unlike the mediocre theories of New Age gurus, astrologers, ufologists and so on, morosophical studies are so queer that they cannot help acquiring a literary quality. The most important criterion of morosophy is originality: the less predecessors and followers, the greater the chance of being included in my book. The word morosophy [fool-osophy] means: foolish wisdom or wise foolishness. Morosophs operate at the crossroads of science, religion, art and madness. Is the earth flat? Was Dutch spoken in paradise? Are atoms spaceships? Is Delft Delphi? Can the floor plan of the pyramid of Cheops be found in the street plan of ‘s-Hertogenbosch? Is the world entering the Lilac phase? Did abstract thought commence when the clitoris evolved from the inside to the outside?
As a rule, a morosopher is somebody whose world has been destroyed by a shocking event. With the help of his theory he managed to reconstruct a new universe from the wreckage, for the sake not of a higher truth, but of an endurable existence. Morosophers are not dreamers; they are healthy thanks to a phantasm within which they are lord and master. To the extent that they bother to follow scientific insights, this is to stimulate their fantasy. Unimpeded by any scientific knowledge, their imagination enables them to force their way through to the world of science and technology. From there they design a parallel universe in which the limits of the possible are sought out and transgressed; they enter the area of the wondrous and the monstrous, and discover a world that, like the world of the comic and the fairy-tale, is out of the reach of the physicists. Morosophy is science in wonderland.
Matthijs van Boxsel will be giving lectures and a workshop on ’Pataphysics, the Science of Imaginary Solutions. ’Pataphysics feeds on metaphysical subjects, scientific discoveries, art and cabaret. The French writer Alfred Jarry (1873–1907), who developped the science of sciences, conceived a brain-washing machine, Perpetual Motion Food, and computed the surface of God.
’Pataphysics was at the root of futurism, dadaïsm and surrealism, but has since developped in the Oupeinpo (Ouvroir de peinture potentielle): it analyses the pre-existing constraints, and investigates new forms of potential creations within the arts.
On the one hand we will develop imaginary islands, languages, calenders etc.
On the other we will be looking for the pataphysical dimension of everday life by means of simple interventions: ’Pataphysics being the science of the exception.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To learn to think and act ‘pataphisically.
Examination: attendance, assignment

Presentation as Performance
Hilt De Vos
Mandatory for: free choice

In this workshop you will learn how to use your body and voice as communication tools for performance and presentation. How does an audience perceive you as a human being on stage. What role does your body play in communication. What tone of voice will work best in a given context and.. how to overcome anxiety and a possible nervous breakdown.
To reach these goals we will do exercises to effectively use your body and voice, while remaining yourself on stage.
The format is master class which means the focus is on the individual but is also a collective learning experience.
PLEASE NOTE: however called ‘masterterclass’, this course (like other courses) is available for Bachelor as well as Master students.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To gain insight and develop skills in physical presence in presentations.
Examination: attendance, assignment

Pro Projection
Kasper van der Horst
Mandatory for: free choice

The Pro Projection course is aimed at students who are planning to use some form of projection in their work.
Besides displaying computer- and video images, projection is often used to define a space or, for example, to enhance the meaning of an object in a space. In this very hands-on and practical course we’ll explore these aspects considering the projects or ideas that the students bring in individually.
We ‘ll explore how different technical resources are best put to use and what impact that could have on the experience of the work. This might result in some radical alternatives to the original plan! We‘ll try out and test a lot so that a high level of precision can be reached.
Hopefully in this way we’ll put the original ideas into an enriched perspective.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To gain advanced knowledge and skills in artistic possibilities of projection.
Examination:

Quick & Dirty
Cocky Eek
Mandatory for: B1

In this course you will be dipped in a method of the making process. The making process by its own nature, offers many surprising, irrational, accidental possibilities that the mind simply cannot predict or imagine.
The class will explore this creative process as a dialogue between maker and matter in diverse mediated forms, in which matter can be interpreted broadly, but which is always the available reality that is transformed in the making process. We’ll do quick hands-on experiments and dirty prototyping, with the aim to train our skills of perception, to learn to recognize when/where things get interesting, and to tap in the enormous potential that comes by working open-ended.
You will work on an individual base as well in a group process and documentation/recording can be helpful tool in the making process.
No Matter – Try Again – Fail Again – Fail Better, Samuel Beckett

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To learn how to master quick artistic sketching methodologies.
Examination: attendance, assignment

RecPlay
Kasper van der Horst, Robert Pravda
Mandatory for: free choice

Since 2001, RecPlay is the ArtScience improvisation ensemble. Some of the research topics that are adressed in the RecPlay are multi-player interfaces, improvisation structures, noise art, feedback in image and sound, realtime composition systems, spatial compositions and interaction with architectural elements. Its practical focus will be on developing improvisations and compositions and on developing ensemble playing using unconventionall instruments.
For a number of years, students have participated in this live electronica and mechanica improvisation group initiated by Robert Pravda. It has had regular performances in various well- known as well as obscure venues, for instance in places like Vooruit, Gent, Zeebelt, Den Haag, Worm, Rotterdam, TodaysArt festival and EXIS, Den Haag, RADIO West, STRP festival Eindhoven, Korzo, Den Haag, Transmediale, Berlin and many more.

Credits: 4 ECTS (first semester) + 4 ECTS (second semester)
No. of classes: approx 10 classes of 2.5 hours (first semester) + approx 10 classes of 2.5 hours (second semester) plus presentations
Objective: To learn how to work in an audiovisual improvisation ensemble.
Examination: attendance, performances

Redeconstruct Media
Kasper van der Horst, Nenad Popov
Mandatory for: free choice

In a number of steps, we aim to look a bit into the phenomena of fragmented media. In our case, media can be only available in fragments, or media that are fragmented for an artistic reason. During the course, we like to look at media in the broadest (metamedia) sense, for example text, literature, data, dna, images, pixels, artworks, audio and video can be your point of interest. We’ll look into the art of abbreviation as well as into more or less speculative reconstruction methods of media. ( veracious or manupilative : redeconstruct )
Our objective is to design individual systems to do this, and because we can also design these systems in an artistic way, that is where we will focus on. Some participants will stay in the analogue domain, while others might find algorithmic solutions to work with. After the first steps of exploring we take our time to develop a very personal point of view for each individual student’s perspective. At the end of this two week’s course we ‘ll ask you to present your system in the format of a work or to present a conclusion of how your system works.
keywords:
•context recreation •artificial consequence •context recreation algorthms/systems
•fragmented sources/media/content •construct new truths •cloudlike media presence •reconstruct media •redeconstruct media

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To learn how to handle the defragmentation of contemporary media in an artistic manner.
Examination: attendance, assignment

Rotating Loudpeaker Workshop
Robert Pravda
Mandatory for: free choice (CASS Exchange Workshop)

Three interesting auditory features of a rotating loudspeaker can be considered characteristic of sound projection:
The first effect is the amplitude modulation (AM). The directionality of the moving loudspeaker causes a change in the sound intensity whenever it passes the listener: the sound level increases as the loudspeaker approaches the listener and decreases as it passes the listener.
The second effect, the ability to create a frequency modulation (FM), is related to the velocity (speed) of the motion. As the source moves towards the listener, the pitch will increase in relation to the speed, and it will decrease when the source is moving away from the observer.
The third distinctive quality of the rotating loudspeaker is the complete spatial modulation of the projected sound. While rotating, the loudspeaker ‘fires’ the sound in all directions causing multiple reflections off the various surfaces and objects in that space.
After the start with the brief history of the rotating loudspeaker development and its applications in different artistic contexts, the participants will be introduced into the use of the rotating loudspeaker system that was developed at the Institute of Sonology and Interfaculty ArtScience departement, the Rapid Air Displacer (RAD).
The goal of the workshop is to explore, hands- and ears-on, all those above mentioned, distinct sonic qualities of the rotating loudspeaker. The participants will be asked to develop and test new creative strategies when composing for the rotating loudspeaker system.
To be able to create a good working schedule for the use of the loudspeaker, the number of the participants will be limited to maximum 12.

Credits: 2 ECTS
No. of classes: 5 classes of 6 hours
Objective: To explore the different characteristics of a rotating loudspeaker system.
Examination: attendance, assignment

Sensing the Shipyard. Being amongst the Living Machines
Cocky Eek, Nicky Assmann, Renske Maria van Dam, Benny Nilsen
Mandatory for: free choice

This course is a collaboration with the Sonic Acts Festival in Amsterdam, particualry the Sonic Acts Academy.
Tagline: We’re going to create a sensorial walk on a Damen shipyard.
With this course we’re going to tap into the different rhythm’s of the Damen Shipyard, located in the harbour in the North of Amsterdam, next to the River IJ. This industrial location, which is operating for almost a hundred years, is still thick with dynamic working activities on an industrial scale. How do we relate with our human presence to these enormous living machines?
By sensing and mapping the different sounds, movements, surfaces and scales, we’ll recompose a sensorial walk through the shipyard, which will be in flux each walk.
The course is divided in two working periods and a presentation period during the Sonic Acts Academy, and all are obligatory to join. There will be a limited amount of 12 places available; we ask dedicated participants. We’ll be researching, exploring and mapping the shipyard in November, amongst others with architect | creative researcher Renske Maria van Dam and sound artist Benny Nilsen.
In February we’ll start working on site with set-ups and test-audiences. The outcome will be presented during the Sonic Acts Academy as a sensorial walk open to the public, combined with a presentation of the artistic process project during the conference programme of the Academy.
Students are asked to bring different kinds of recording and mapping devices. A reader will be put together and can be requested a week before the start of the course.
Please note: this course is split in two parts: two weeks in December and two weeks in February. It is not possible to do only one part of this course. Be prepared this is a course on location which involved travel costs from Den Haag to Amsterdam.

Credits: 8 ECTS
No. of classes: 16 classes of 6 hours plus presentations at Sonic Acts
Objective: To shape the rhythm of a place in time and space.
Examination: attendance, assignment

Sensors, Actuators & Microcontrollers
Lex van den Broek, Johan van Kreij
Mandatory for: free choice

This course is a continuation of the Introduction to Electronics that is given in the first year. It is open to other students who have at least some familiarity with the most basic concepts of electronics. In this course students learn how to understand and build simple setups consisting of a sensor, a controller and an actuator. The concepts behind controllers like the ipsonlab and the Arduino or Wiring board are introduced. The most common types of sensors are introduced and how to connect them and interpret the data they produce. Also the most common actuators will be introduced.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To gain more advanced insight in the creation of electronic circuits for artistic purposes.
Examination: attendance, assignment

Smell and Art. An Introduction to the Artistic Use of the Smell Medium
Maki Ueda
Mandatory for: free choice

Often in olfactory art, the focus is on smell itself. It is used for evoking memories and feelings, for emphasizing manifestations or making statements. We will take a different approach that focuses more on our perception of smell and less on the meaning of smell. Smell is in itself neutral. It’s the audience that attributes meanings such as “this is the smell of apple” or “this is a bad odour” based on their personal experiences and history.
In the course we will depart from the above perspective and regard smell as something neutral. In the first half of the course we discuss the question “what do we know, and what can we find out, about smelling?” By doing a lot of original and spontaneous study, researches and experiments you will quickly learn more about your sense of smell. In the second half of the course we will focus on creating a ‘simple’ artwork, interface, or game.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To learn basic skills and theory on the subject of olfactory art.
Examination: attendance, assignment

SoS (Sense of Self)
Maurizio Martinucci (TeZ)
Mandatory for: free choice (CASS Exchange Workshop)

With wearable sensors and ever sophisticated algorithms, we can increasingly quantify, that is, put numbers to almost any kind of human behaviour that we engage in: sleeping, calorie intake, weight, number of steps walked, heart rate and many others.
These numbers are then converted back into graphs, statistics and other discrete representations that hint to a quantified “image” of our self, tending to homologate our individuality instead of promoting its unicity.
Moreover, the social implications of such self-tracking process, where our personal and intimate data are finally shared and potentially appropriated within the global community for whatever purpose, are certainly to be taken into serious consideration.
While the “Quantified Self” is already paving the way for a data-driven lifestyle, we should instead look for a “Qualified Self” paradigm where unquantifiable sensations mean more than number collections.
SOS is a course aimed at exploring techniques and methods for creative use of real time physiological data, acquired via affordable sensing technologies, and translated to a personal “sensory selfie”, a portrait of one’s self that others can experience in other ways than a picture, a graph or a textual description.
Data tracked through ECG (heart-rate), EMG (muscle pull), respiration, motion, blood pressure/oxygenation and other sensors will be either transferred into other bodily sensations via haptic and thermal transducers, or used to modify the soundscape and the light/color atmosphere of the environment.
Finally, the course invites to hacking of existing electro-physiological sensing technologies and to inventing further ways to share biometric data across local and remotely connected groups of people.

Credits: 2 ECTS
No. of classes: 5 classes of 6 hours
Objective: To gain knowledge and skills concerning new technologies concerning the extraction of data from the body, and their artistic potential.
Examination: attendance, assignment

SoundWorlds
Robert Pravda, Milica Ilić
Mandatory for: B1

The goal of this course is to introduce the theory and practice of working with sound, to teach the handling of basic recording and studio equipment and to offer basic insight in general music theory. Also a short introduction will be given to the history of electro-acoustic music and basic concepts of composition.
The theoretical part will cover:
– Basic parameters of sound, such as the concepts of sound as change of pressure through the air, waveform and harmonic spectrum of the sound, wavelength, amplitude, frequency and perception of pitch and loudness. Also we will discuss the basics of analog sound, digital sound, synthesis basics (additive, subtractive synthesis, Frequency modulation) and MIDI.
– An introduction to the basics of musical dramaturgy, or “how to organise sound” – historical overview, explaining & exploring different musical tools and their practical use, demystification of the so called “classical music” world, with the goal of expanding the palette of means that can be used in artistic work which includes sound/music.
On the practical side an introduction will be given to basic studio hardware and software, such as the mixing desk, amplifiers, speakers, cables and types of microphones and their uses use: XY, AB, MS, Binaural. We will talk about recording, sampling, editing, sound effects and various software and plugins.
During the course we will listen to pieces from important composers and discuss them. We will discuss examples of noise music, musique concrète, soundscapes, electronic music, sound- plays and field-recordings, but also other types of music in order to see how musical systems work.
All the students attending the course are expected to finish a number of exercises in listening, recording and editing. At the end of the course each student is asked to produce a composition in sound.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To gain fundamental insight in the workings of music and sound.
Examination: attendance, assignment

SoundWorlds 2: Sounding Space, Spacing Sound
Robert Pravda
Mandatory for: free choice

As much as we experience our environment visually, we also have an ability to sense our environment through listening. We sense the spatial attributes through hearing as something parallel to our visual perception. What we hear is a complex mixture of the surrounding sound with its reflections, dispersion, refraction and absorption, all determined by the specific (unique) acoustic character of the space. While listening, we react both to sound sources and to spatial acoustics.
In the first week of the course, we will build upon the SoundWorlds introduction course, with emphasis on more advanced approach to different techniques in sound recording, synthesis, transformation and spatialisation.
The second week will be dedicated to development and hands-on experiments in; how to approach sound organisation for a multichannel sound reproduction, a live performance setup, or a sound installation based on individual artistic ideas of the participants.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To gain more advance knowledge in the workings of sound in its environment.
Examination: attendance, assignment

Spectra – Space as an Organism (2)
Julia Willms, Andrea Božić
Mandatory for: free choice (CASS Exchange Workshop)

In this in-disciplinary workshop we will approach space as performative and as an organism. We will explore the organic logic of dreams and apply it to hard infrastructures of the physical space such as architecture and merge it with virtual space to open up a third – new imaginal space – in their overlap. We will collect dreams and map them into architectural space, weaving them into new spatial narratives and allowing the logic of time and space in dreams to reorganise the logic of the actual space. We will further explore a combination of live performance, cinematic/virtual and architectural space merging them into one layered hybrid space in their overlap, a merger between the physical, imaginal and virtual. The students will work in small collaborative groups exploring performative and audio-visual installative spatial set ups and narratives. We will work through a combination of making, presenting and feedback discussion. The students are asked to bring their own audio-visual digital devices that they normally use in their artistic practice. Full participation in the workshop is requested, as each day will build on the previous.
The workshop is part of the research and creation process for PoroCity, our new performance that will premiere in Amsterdam in early 2018. PoroCity is part of Spectra – space as an organism, our long term artistic practice and research into attention and space and how their organisation affects our sense of embodiment, emergent realities and infrastructures. In Spectra we work with the whole space and the visitor’s presence in it as part of the work. There is no such thing as empty space or a position outside of space. We are not in the space but we are space.
Keywords: porous space, perforated space, performative space, performance as a passage, space as an organism, in-disciplinary.
This course builds further on last years’s Spectra, but students need no prior knowledge of last year.

Credits: 2 ECTS
No. of classes: 5 classes of 6 hours
Objective: To gain artistic insight in how space, attention and their organisation affect our sense of embodiment, emergent realities and infrastructures.
Examination: attendance, assignment

Studium Generale
Hanne Hagenaars (KABK) et al
Mandatory for: B2

The Studium Generale offers a nearly weekly programme of lectures of very different nature, based around a yearly central theme. Mandatory for second year Bachelors, but highly recommended for all other years of the Bachelors and Masters!

Credits: 1 ECTS
No. of classes: approx 24 classes of 1.5 hours
Objective: To gain general contextual insight.
Examination: attendance

Synchronicity
Peter Zegveld
Mandatory for: free choice

The phenomenon of synchronicity will be the focus during this workshop: a philosophical, conceptual and audio/visual approach will lead to a material presentation on the end of these two weeks.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To understand and artistically work with the phenomenon of synchronicity.
Examination: attendance, assignment

T3C – ArtScience and the Social Turn
Frank Theys
Mandatory for: free choice

ArtScience and socially engaged art are the two main directions within the arts today that seek connection to the world outside the arts. One combines art with science & technology; the other combines art with social reflection and engagement (such as relational art, antagonist art, participatory art,…). But for the rest, these two tendencies in art have little in common, despite the fact that in daily life social and technological issues get increasingly intertwined – think of social media, anthropocene, blockchain, transhumanism. It’s hard to talk about technology without its social impact or to talk about society without its technological aspects. So then why do these two directions in art remain most of the time so disconnected?
In this workshop we explore the domain of socially engaged art in relation to artscience and we try to find fruitful intersections between the two frameworks.
PLEASE NOTE: this workshop will start on tuesday and consists of three days of eight hours each.

Credits: 2 ECTS
No. of classes: 3 classes of 8 hours
Objective: To gain knowledge on how to deal with the different aspects of life & society: the logical, the moral and the aesthetical.
Examination: attendance, assignment

Writing as/in Research
Maya Rasker
Mandatory for: free choice

To write, means to allow ideas, notions, knowledge, nonsense to come into being – which is a good reason why so many fear the act of writing: once written, your thoughts become a reality of their own. During the workshop Writing as / in Research we will investigate what writing means – as an act of unravelling and discovering of the mind’s working, rather than to fixate embryonal cerebral thinking (that often should not see the light of day – yet).
Point of departure is you – a creative creature that oscillates between who you are, what you do, and where you are heading. Through a sytematic analysis of the creative process you will discover how different writing techniques support and enhance your personal search for artistic growth – no matter your medium or main artistic interest.
Language is our material, so the course encompasses lots of writing, reading, listening and taking notes. The use of pen, or pencil, and paper is obligatory. No laptops allowed in the classroom.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To develop writing skills as an artistic discipline, and/or as a tool to develop artistic research.
Examination: attendance, assignment

ArtScience staff 2[
Cocky Eek
Arthur Elsenaar
Kasper van der Horst
Eric Kluitenberg
Esther Polak
Robert Pravda
Sanne van Rijn
Taconis Stolk (head of department)
Julia Willms

Marisa Manck (coordinator)

Cocky Eek
Cocky Eek studied Fashion Design at the Utrecht School of the Arts and graduated in 1993 with a final collection ‘Fashion is so ugly you have to change it every half year’. She did her Master degree European Fashion and Textiles Design in 1994 (FR/IT). After her studies she realized several experimental ‘wearable’ collections presented amongst Le Salon des Jeunes Stylistes in Hyeres (FR). Meanwhile she worked as a guest teacher (HKU, Rietveld Academy and Konstfack -Stockholm).
From 1999 – 2002 she collaborated with designer Maria Blaisse, investigating form and material in relation to the moving body, resulting in the Kuma Guna series (nominated by the Dutch Design Award). Together they gave a number of master-classes (MA European Fashion & Textile Design, the International Summer Academy of Fine Arts in Salzburg, and the Curtin University of Technology in Perth).
Since 2001, Cocky Eek has been an active member of FoAM [Brussels]. In close collaboration with scientists, and media-designers she did the spatial designs for responsive environments as Tgarden, TxOom and TRG (presentations include V2 and Ars Electronica 2001). Since the millennium her work has been mainly revolving around lightweight spatial compositions and her favorite media have become wind and air. This resulted in floating or flying experiments or large, voluminous forms. Her Human-Kite performances with Patrick de Koning were shown along various coastal lines, such as the Oerol Festival (NL) and the International Kite Festival in Weifang in China. She is co-founder of FoAM [Amsterdam 2005] whose main focus is the topic of human-plant inter-relations. One of their sprouts Boskoi, a project on urban foraging received an honorary mention Prix Ars Electronica 2011, was presented at ISEA and implemented in many local community’s. In 2012 she created Sphaerae, an inflatable multi-dome pavilion for immersive and synaesthetic experiences (presented at Ars Elctronica, TodaysArt festival 2013). With Schweigman& she develloped two contemporary theater pieces; Frame (presented in Shanghai 2012) and Blaas (Oerol, Torino, Boulevard, Utrecht 2013).
cockyeek.com

Arthur Elsenaar
Arthur Elsenaar is an artist, electrical engineer and facial hacker. Since 1993, Elsenaar has investigated the computer-controlled human face as a site for artistic expression. He holds a Ph.D. in Art and Design from Nottingham Trent University in the UK for his thesis entitled “Facial Hacking: The Twisted Logic of Electro-Facial Choreography.” Elsenaar’s work has been shown at many internationally renowned conferences, festivals and institutes such as Ars Electronica, ISEA, DEAF, SIGGRAPH and MIT Media Lab. In 2008, the Stedelijk Museum in Amsterdam acquired the algorithmic facial choreography work “Face Shift” for their permanent collection. He has been a core member of the Institute of Artificial Art in Amsterdam whose work received several awards; a Prix Ars Electronica honorary mention (1997), the Leonardo Award for Excellence (2003) for a paper on the history of electric performance art. For his most recent work, Elsenaar received the Technarte Best Speaker Award (2012) in Bilbao, Spain.
artifacial.org

Kasper van der Horst
Kasper van der Horst studied photography at the School of Photography in The Hague. During his studies he developed an interest in video, computer animation and computer graphics and started his own studio, Sparks.
In 1988 he was invited to teach video at CAM, and a year later to become a teacher at the Interfaculty Image & Sound, where he first taught analogue video and, since 1993, digital imagery. During his classes at the Interfaculty students started to develop moving digital graphics, resulting in some of the earliest VJs and visual musicians who created visuals and moving images that accompanied DJ acts, shown during the Sonic Acts Festival in 1994. During the collective research projects he often works with a small group of students on special visual effects that relate in delicate ways to the general theme of the project. In 1998 his research on dynamic video projections resulted in an astounding contribution to the closing night of the Holland Festival in Paradiso. For the ArtScience curriculum he developed many introductory courses on the subjects: Freestyle Video, Image & Sound (with Robert Pravda) and MetaMedia (with Taco Stolk). Next to these courses van der Horst organised many video workshops and collaborated on almost all of the large-scale projects at the Interfaculty. The resarch project “Structet : Building Music” in 2006 was one of the most successful performances in the Todaysart festival that year and it is the only project in the festival ́s history that was invited again, in 2011.
Since 2010 van der Horst has been directing multi screen installations for Rockheim, the museum for Norwegian pop music in Trondheim. He also designed 3d avatars for the interactive part of the museum. His work engagements range from established art institutes to broadcast and commercial media production. He directs and produces audiovisual projects. As a multidisciplinary art and technology advisor Kasper works with students, art-collectives and media-companies.

Eric Kluitenberg
Eric Kluitenberg is an independent theorist, writer, curator, and researcher on culture, media, and technology based in Amsterdam. He has been head of the media and technology program of De Balie, Centre for Culture and Politics in Amsterdam since 1999. He taught theory of interactive media and technological culture for a variety of academic institutions, including the University of Amsterdam, the University of Professional Education of Amsterdam, Academy Minerva Postgraduate Studies in Groningen, and he was a scientific staff member of the Academy of Media Arts Cologne. Recent publications include The Book of Imaginary Media (2006), Delusive Spaces (2008) and the theme issues of Open, Journal for Art and the Public Domain, “Hybrid Space” (2006), and “(Im)Mobility” (2011).
Next to an extensive series of festivals and public events he was project leader for the practice based research trajectory “The Living Archive” at De Balie (2004 – 2010) and currently is Editor in Chief of the Tactical Media Files, an on-line documentation resource for Tactical Media practices worldwide.

Esther Polak
Esther Polak is a visual artist active in new media. She is most well-known for her locative media projects. Polak studied at the Royal Academy for Visual Arts in The Hague from 1981 till 1986, and at the Rijksakademie van Beeldende Kunst in Amsterdam from 1986 till 1989. With a consistent interest in landscape and in contemporary ways of visualizing space and geography, Polak turned to visualization and mapping as artistic tools, and an integral part of the basic concept of her work. In several of her long-term projects such as Amsterdam Realtime, the MILK project and NomadicMILK, Polak makes mobility, routes and trajectories visible from the perspective of participants, in an intuitive and personal manner.
With the MILK project, Esther Polak won the Gada Balva Prix (Riga, Latvia) in 2004. In 2005, she was awarded the Golden Nica for Interactive Art at Ars Electronica, Linz, Austria. Since the beginning of 2010, Polak collaborates full-time with Ivar van Bekkum. Both live and work in Amsterdam, the Netherlands.

Robert Pravda
Robert Pravda studied engineering from 1987 through 1991 at the Technical University of Novi Sad (former Yugoslavia), after which he dedicated himself to making music in experimental underground circles. His interest in the interdisciplinary arts brought him to the Interfaculty Image & Sound, where he earned his degree in 2002. In 2001 he started WEIM, a workshop for his fellow students on electro-instrumental music. When he became a teacher at the Interfaculty, this workshop was transformed into the electronica improvisation ensemble RecPlay. During his studies he concentrated on building instruments for multimedia performances and making algorithmic compositions for spatial sound and light installations. His examination project, the sound-light installation 5x5x5, was awarded with the visitor’s prize of Shell’s Young Artist Award.
Recently he has been developing new musical and light instruments, performing in many formations and contexts, and he worked as composer and sound designer for several theatre productions.

Sanne van Rijn
Sanne van Rijn studied classical ballet and photography. Later she attended the Interfaculty for Image and Sound at the Conservatory in The Hague. In recent years she has staged various performances, first with ZTHollandia and later with NTGent, including This Is How I Give My Cat a Pill (Zo geef ik mijn kat een pilletje), Let’s be Firm (Laten we flink zijn) and Gradually Zero (Langzaam tot nul).
Sanne van Rijn devotes herself in her work to the extraordinary in the ordinary. ‘She carefully juxtaposes a minimal action with a minimal sound, with a minimal image, with a minimal movement, forcing the viewers to review and change their way of looking and listening, to review and change their perception of time and space. Under this transparent fabric lies silence.’
In 2000 Sanne van Rijn was awarded the VSCD Mime Prize and the Incentive Prize for Drama by the City of Amsterdam. Swan Lake (Zwanenmeer) was selected for Het Theaterfestival 2002. La Sylphide & James as well as Hey Presto! You’re a Bear! (Ik wil dat jij een beer wordt!) were nominated for the VSCD Mime Prize in 1999 and 2007.
As a performer she worked with the British ensemble Forced Entertainment in the 24 hour performance Who Can Sing A Song to Unfrighten Me? She was also seen in Christoph Marthalers Seemanslieder and in The Damned (De val van de goden) directed by Johan Simons.

Taconis Stolk
Taconis Stolk is a conceptualist and metamodernist. He is the initiator of WLFR, studio for conceptualism in Amsterdam. Since the mid-nineties WLFR has been developing metamedia projects and theory concerning the aesthetics of concepts and contextual technology, often at the intersection of art and science.
WLFR projects have been exhibited, performed and published in Europe, the Americas and Asia. They deploy a wide range of media and disciplines. Examples through the years are P.I.A (interactive audio performance for magnetic card readers, 1994), fZone (website generating audio compositions based on weather conditions in the world’s time zones, 1995) PARR (research project on nano-aesthetics resulting in computer generated books and animations, 2000), BuBL Space (pocket device to disable mobile phones, 2002, with Arthur Elsenaar), Gradually Zero (experimental theatre on the beauty of numbers, 2003, with Sanne van Rijn), Genetic Design (media project on art education in genetic modification, 2004), o—o—o—o (project on intention hacking the game of chess, 2010, with ConceptsAssociated), Wf–– (nanotechnology project on creating magnetic fragrances, 2011, with Radboud University Nijmegen) and WLFRGB (video series exploring ‘impossible colours’ by hacking stereoscopic technologies, 2013).
Stolk earned his Bachelor’s and Master’s degrees at the ArtScience Interfaculty. He lectures at the Interfaculty since 1998. Current other lecturing and consulting activities include MediaTechnology MSc programme of Leiden University (since 2001), STEIM Amsterdam and the Dutch Arts Council. He is a regular speaker and writer on topics related to his practice.
wlfr.nl

Julia Willms
Julia Willms (DE/NL) studied Visual Communications at the Academy of Fine Arts in Maastricht (The Netherlands) and Media Art at the University for Applied Arts in Vienna (Austria). Her work deals with the nature of perception, the very act of viewing itself and the shifting position of the spectator within the proposed environment. It takes form of video installations (often site specific) for the borderlines of spaces and architectual environments, performances, photo collages as well as installations and paintings.
Her works have been shown in solo and group exhibitions (GAM | Obrist Gallery/Essen, MUSA/Vienna, De Appel/Amsterdam, BNKR/Munich, Altana Kulturstiftung/Bad Homburg, a.o.), as well as in media & video art and performance festivals internationally (EMAF/Osnabrück, Almost Cinema/International Filmfestival Ghent, Netaudio London a.o.).
Since 2003 she has collaborated closely with choreographer/director Andrea Božić (www.andreabozic.com) on in-disciplinary performance projects and installations. In 2009 she co-founded in-disciplinary platform TILT with Andrea Božić, and sound artist Robert Pravda.
Julia is one of the co-founders of BAU – space for performing arts Amsterdam and teacher at the Royal Academy of the Art The Hague and mentor at the Amsterdam Master of Film. Julia has given workshops internationally (Royal Academy of Art The Hague, ICK, SPRING Festival, Interrarium – The Banff Arts Centre, a.o.).
www.willmsworks.net

Marisa Manck
Marisa Manck studied Cultural work at the Hogeschool van Amsterdam and proceeded to work as a project-manager at the Westergasfabriek in Amsterdam where she managed in-house production for big festivals like the Drum Rhythm festival and put effort in professionalizing cultural entrepreneurship on this unique site of industrial heritage. In the following years she produced several exhibitions and events at W139. As senior project manager at the Dutch Theatre Institute and Museum, Marisa produced several exhibitions and programs. After the Theatre Institute had to close its doors due to government budget cuts, she started studying at the Master of Education department at the HvA. Besides attending classes, she continued working for several smaller projects.

Guest teachers 2017-2018

Nicky Assmann
Merel Boers
Matthijs van Boxsel
Andrea Božić
Lex van den Broek
Renske Maria van Dam
Zoro Feigl
Rob van Gerwen
Roel Heremans
Milica Ilić
Márton Kabai
Johan van Kreij
Jonas Lund
Katinka Marač
Maurizio Martinucci
Jeroen Meijer
Manus Nijhoff
Benny Nilsen
Dani Ploeger
Ine Poppe
Nenad Popov
Maya Rasker
Frank Theys
Maki Ueda
Caro Verbeek
Hilt De Vos
Peter Zegveld

Nicky Assmann
The immaterial and intangible character of light, colour and movement forms the starting point of Nicky Assmann’s [NL] spatial installations, in which she tries to heightens the perception. With a background in Film and ArtScience, she combines artistic, scientific and cinematographic knowledge in experiments with physical processes aimed at sensorial interference. In using distorted mirroring reflections she intends to challenge preconceived notions of our surroundings, opening space for parallel realities.
Her work takes shape in the form of kinetic light installations, video-installations and live audio visual performances and is embedded in a context of visual music, expanded cinema, and the concept of synaesthesia. Set against the backdrop of our visual culture, where the perception of reality increasingly occurs in the virtual domain, she returns to the physical foundations of seeing in which the embodied experience and the notion of affect are central.
Assmann was nominated for the 2017 & 2015 Prix de Rome and her work Solace gained an Honorary Mention in the 2011 StartPoint Prize. She has exhibited her work in a solo show at TENT Rotterdam and in group exhibitions at the Saatchi Gallery [London], National Taiwan Museum of Fine Arts, Art Rotterdam Week, Quartier 21 [Vienna], V2_Institute for the Unstable Media [Rotterdam], Exit Festival [Paris] and the Biennial of Carrara.
Assmann holds a Bachelor of Arts in Media & Culture [Major Film Science] from the University of Amsterdam and a Master in ArtScience from the Interfaculty of the Royal Conservatoire & the Royal Academy of Art in The Hague. She is part of the Macular art collective, which focuses on art, technology, science, and perception.
http://nickyassmann.net/

Merel Boers
Merel Boers (that is Frau Dr. Boers to you) has a background in history, argumentation theory, journalism, public speaking… She likes her sherry bone dry and her risotto all’onda, please. She collects historical cookbooks and is still mourning Iain M. Banks. At the ArtScience department, she is a thesis coach.
http://www.merelboers.nl/

Matthijs van Boxsel
Literary historian Matthijs van Boxsel (b. 1957) has been studying the topic of stupidity since 1980. In 1999 he published De encyclopedie van de domheid (The Encyclopedia of Stupidity), which was nominated for the prestigious Generale Bank Prize for Literature. In 2001 the sequel Morosofie (Morosophy) appeared, studying the 100 most stupid Dutch theories of the 20th century. This was followed in 2006 by a volume on stupidity as an art of living: Deskundologie of Domheid als levenskunst. Van Boxsel is now working on De topografie van de domheid (The Topography of Stupidity), in which he gathers all the cities and regions that are proverbially known for stupidity. De encyclopedie van de domheid has already been translated into more than 10 languages.
http://www.matthijsvanboxsel.nl/

Andrea Božić
Andrea Božić (HR/NL) is a choreographer based in Amsterdam with a degree in Comparative Literature and English Language from the University of Zagreb, the School For New Dance Development and the Amsterdam Masters of Choreography, both at the Academy for Theatre and Dance Amsterdam.
Andrea’s work revolves around the choreography of attention, space and gaze. It is in-disciplinary and takes form of live performance, installation, attention exercise and collaborations with the weather and night sky. The work reorganizes perception combining conceptual with sensorial and physical, creates paradoxical situations and asks questions about the effects of attention and imagination, perception of presence, the politics of viewing, presentation of reality and distribution of authorship.
Her work was produced by the Frascati and she was artist-in-residence at the International Choreographic Arts Centre Amsterdam (ICK). She has collaborated with visual artist Julia Willms and sound artist Robert Pravda since 2005 with whom she founded in-disciplinary platform TILT in 2009, a platform that currently produces the work. Her work has been presented internationally in performing and visual arts field (Reina Sofia Museum, Madrid, Centre Pompidou Metz, Vooruit, Gent, ImpulsTanz, Vienna, the Appel Arts Centre, Amsterdam, Frascati, Amsterdam, HAU, Berlin, a.o.).
Andrea is tutor at the DAS Theatre (formerly DasArts, master of theatre programme, Amsterdam), was mentor at the Amsterdam Master of Choreography 2012-2015 and has given workshops and lectures and mentored many artists internationally (ICK, Interrarium – the Banff Arts Centre, ArtEZ, a.o.). Andrea is co-initator and curator of the We Live Here – summer academy and the Come Together Festival in Amsterdam and is one of the co-founders of BAU – dance and performance Amsterdam.
http://www.andreabozic.com/

Lex van den Broek
Lex van den Broek finished his studies Electronic Engineering and Information Technology at the Hogeschool Rotterdam in 1993. After a couple of years designing sound amplifiers for active speaker systems, he started working as the head of the Electronics Workshop at the Royal Conservatoire in 1997. He gives courses to students of Sonology, The Art of Sound and ArtScience departments. He also guides students in realising their own projects involving electronics. In its long history, the Electronics Workshop at the KC has collaborated on many impressive interfaces and installations and is a center for developing musical interfaces and computer installations. Lex has been developing various interfaces and controllers that are available for students to assemble, such as the IpSonLab, Microlab and MTVlab.
http://www.koncon.nl/lex/

Renske Maria van Dam
Since 2013 Renske Maria works as independent architect and artistic-researcher. In February 2017 she started her doctoral research at KU Leuven.
Always motivated to think and do Renske Maria initially started her studies in Fine Art and Philosophy, but finished her BSc and MSc in Architecture at the Technical University Delft. During her architecture studies she also followed courses in urban anthropology and worked for architectuurstudio Herman Hertzberger, Amsterdam and Atelier Li Xiaodong, Beijing.
From 2009 to 2011 she was part of Vision included; a co-initiated, pro-active design practice and discussion platform. From 2013 to 2016 she was part of ALEPH; a co-initiated artistic-research laboratory for the exploration of progressive heuristics focusing on philosophy as creative practice in its own right. If you feel inspired please feel free to contact us about possible collaborations.
http://www.renskemaria.com/

Zoro Feigl
The installations of Zoro Feigl (1983) seem to be alive. His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere. Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly. The exhibition space becomes an enlarged microscope: single-cell creatures, primitive organisms are twisting, groaning and convulsing. Without beginning or end the objects seem to be locked into themselves. As a viewer you become entangled in their movements: they embrace and amaze, but sometimes also frighten you. Zoro Feigl lives and works in Amsterdam.
http://www.zorofeigl.nl/

Rob van Gerwen
Rob van Gerwen, Ph.D., is senior lecturer in philosophy at Utrecht University. He taught at University College Utrecht, The Royal Academy for the Arts, and the Royal Conservatory in The Hague, and The High School of the Arts in Utrecht. He is co-founder of the Dutch Association of Aesthetics, and owns a company, Consilium Philosophicum.
He wrote numerous articles and books on aesthetics: among others a survey of modern aesthetic theories (in Dutch, 2016, Moderne filosofen over kunst); a dissertation on Art and Experience (1996); he edited Richard Wollheim on the Art of Painting with Cambridge University Press; co-edited a book on Experiencing Music (in Dutch, 2014); and published Watching art in museums (in Dutch, 2003). He is currently working on a book on Art as a Moral Practice. You can download his writings from his website: http://www.phil.uu.nl/∼rob He also maintains a weblog and is on Twitter. He is former president and current vice-president of the Dutch Association of Aesthetics, and editor-in-chief of Aesthetic Investigations (aestheticinvestigations.eu), an Open Access, peer reviewed journal in aesthetics.
http://www.phil.uu.nl/~rob/

Roel Heremans
Roel Heremans is a Belgian artist living and working in Brussels. After his Bachelor Radio in Brussels he graduated from the master Artscience Interfaculty in 2014. In his practice he uses properties of the medium radio to create choreographed experiences. In 2018 he will start the post-academic study HISK in Ghent.
http://www.roelheremans.com/

Milica Ilić
Milica Ilić, born in 1985 is a is a pianist from Serbia, specialised in opera and chamber music. Her repertoire covers a wide range of musical styles and she performs in various types of chamber ensembles. She is full time employed as an repetiteur and vocal coach on the department of Solo Singing at the Faculty of Music in Belgrade, Serbia.
Next to her employments as a pianist, Milica works as a composer and librettist. Her latest works include Higher, for two pianos, baritone, actor, singer and choir of shouters, The Chamber Thriller Opera in Episodes (a)Mantis Religiosa performed both in Belgium and Serbia, Lego project series I for voice and piano as well as other song cycles. Exploring new possibilities and combinations in the classical musical repertoire, and connecting different styles, genres and forms in her creative work are the main characteristics of Milica’s artistic practice.

Márton Kabai
Márton Kabai (HU), graphic designer based in The Hague, NL. He started his graphic design study in the Hungarian Academy of Fine Arts (HU), but he graduated from the Royal Academy of Arts, The Hague, NL. His works can be located around the subjects of posthuman, anthropocene, speciesism and crisis. He believes in a research driven, post disciplinary, slow and personal design practice. He works in various media where he tries to materialise hidden concepts, demystify ideologies, beliefs, unveil biases, fixations that has mistaken as truths, legal or unbreakable. He works for commissions and initiate own projects.
http://www.martonkabai.com/

Johan van Kreij
Johan van Kreij is a musician whose artistic output focuses primarily on improvisation and composition using electronics. He studied music at the Institute of Sonology from 1994 at the Royal Conservatory in The Hague, graduating in 1998. Frequently he performs his music, both as a soloist and with other musicians.
Starting in 1998 van Kreij has participated in a long running and intensive collaboration with choreographer Ted Stoffer. This resulted in music composed to a great number of dance choreographies that were performed throughout Europe and the United States. And for more than a decade he has been active within the field of music theatre trough cooperations with Dick Raaijmakers and Paul Koek.
Another important aspect of his work is the development and realization of his own instruments. This development covers the fields of hardware—sensors and other electronics—used for gestural input, and software employing a wide range of sound synthesis models. In the role of developer, he has participated in many projects in the field of music, visual arts and architecture. Since 2001 he has been a permanent member of the teaching staff at Sonology.
http://jvkr.nl/

Jonas Lund
Jonas Lund is a Swedish that creates paintings, sculpture, photography, websites and performances that critically reflects on contemporary networked systems and power structures of control. He earned an MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academy, Amsterdam (2009). He has had solo exhibitions at Whitechapel Art Gallery, London (2016), Steve Turner, Los Angeles (2016, 2015, 2014), Växjö Konsthall Sweden (2016), Boetzelaer|Nispen, Amsterdam (2014), Showroom MAMA, Rotterdam (2013), New Museum, New York (2012), and has had work included in numerous group exhibitions including at Carrol/Fletcher, London, ZKM, Karlsruhe, Van Abbemuseum, Eindhoven, Witte De With, Rotterdam, De Hallen, Haarlem and the Moving Museum, Istanbul. His work has been written about in Artforum, Kunstforum, Metropolis M, Artslant, Rhizome, Huffington Post, Furtherfield, Wired and more.
http://jonaslund.biz/

Katinka Marač
Katinka Marač studied theatre design at the Utrecht School for the Arts. Since 1997 she has worked both as a scenographer and lighting designer for contemporary dance performances and installations in the experimental circuit. Among others she has collaborated with Golden Palace, Sara Wookey, Lidy Six, Martin Nachbar, Sanja Mitrović, Seon-Ja Seo, Daniel AlmgrenRecen en Roser Lopez Espinosa.
Katinka writes regularly on lighting design and scenography in Zichtlijnen, the Dutch technical journal for stage technology. She also advises students at the School for New Dance Development and at the master Choreography at the AHK Amsterdam. Katinka’s preference for experimental works is based on the significant role played by space and spatial experiences, and as co-maker in multi-disciplinary productions in which space and light exist as partners. Her lighting designs possess a particularly physical quality and encourage and generate movement. In addition to her work as a designer, she has made short video films, so-called audio- visual choreographies, which bring together her fascinations for the body, movement, space and rhythm.
http://www.katinkamarac.com/

Jeroen Meijer
Jeroen Meijer is an independent creative technologist, trainer and filmmaker who bridges the disciplines of art, science and technology. His background in Artificial Intelligence reflects his broad and interdisciplinary thinking. He is an experienced software architect, specialized in developing tools for scientific research, simulation and realtime 3D visualisation and is proficient in a multitude of programming languages, frameworks and design patterns. Hardware and electronics also have his interest and create a rich toolset when working on (art)projects. As a passionate and sociable trainer he specifically focuses on teaching foundational and conceptual technical knowledge to fascilitate self-learning. Ethics and critial thinking currently motivate him to research the social, ethical and political implications of the growing asymmetry of knowledge and control in a society that has grown fully dependent on deeply intrusive information technology, hardly understood by it’s users. Jeroen is a promotor of free (libre) software and it’s philosofy and advocates critical and conservative usage of information technology.

Manus Nijhoff
Always consider opposing views! Manus Nijhoff (NL) is a graphic designer. He tries to break down universal subjects to specifics and to specify the universal. A recent graduate of the Royal Academy of Arts, the Hague he now works between the Hague and Berlin. His bachelor thesis ‘Control and Question’ is a scripted discussion between three insiders. They discuss the commercial internet as we’re familiar with it.
http://www.manusnijhoff.nl/

Maurizio Martinucci
Maurizio Martinucci (aka TeZ) is an Italian interdisciplinary artist and independent researcher, living and working in Amsterdam, who has collaborated with, amongst others, Adi Newton, Scanner, Kim Cascone, Saverio Evangelista, Taylor Deupree, Sonia Cillari, Chris Salter, Honor Harger, Luca Spagnoletti and Domenico Sciajno.
He uses technology as a means to explore perceptual effects and the relationship between sound, light and space. He focuses primarily on generative compositions with spatialized sound for live performances and installations. In his works he adopts custom developed software and hardware, featuring original techniques of sonification and visualization to investigate and magnify subtle vibrational phenomena. In recent years his research has extended to the ideation and creation of specific architectural structures and unconventional sound and light propagation methods to enhance immersivity and multisensory perception.
TeZ is also the brainfather of the ‘Optofonica’ platform for Synesthetic Art-Science, located in Amsterdam.
http://www.tez.it/

Benny Nilsen
BJ Nilsen (Benny Nilsen) is a Swedish composer and sound artist based in Amsterdam. His work is primarily focused on the sound of nature and its effects on humans. His two latest solo albums released by Touch Eye Of The Microphone (2013) – a personal audio rendition based on the sound of London – and The Invisible City (2010), have explored the urban acoustic realm. He has collaborated with Chris Watson on Storm and Wind, released by Touch (2006, 2001).
His original scores and soundtracks have featured in theatre, dance, and film, including Microtopia and Test Site (2013, 2010, dir. Jesper Wachtmeister), Enter the Void (2010, dir. Gaspar Noé), and, in collaboration with Jóhann Jóhannsson, I am here (2014, dir. Anders Morgenthaler). In 2014, he co-edited the book+CD publication The Acoustic City (jovis) together with Matthew Gandy.
http://bjnilsen.com/

Dani Ploeger
Dani Ploeger combines performance, video, computer programming and electronics hacking to investigate and subvert the spectacles of techno-consumer culture. Re-purposing, mis-using, and at times destroying everyday devices, his work exposes seemingly banal and taken-for-granted aspects of digital culture as objects of both physical beauty and political power.
Among others, he has worked with traditional metal workers in the old city of Cairo to encase tablet computers in plate steel, attended firearms training in Poland to shoot an iPad with an AK47, made a VR installation while embedded with frontline troops in the Donbass War, and travelled to dump sites in Nigeria to collect electronic waste originating from Europe.
http://www.daniploeger.org/

Ine Poppe
Ine Poppe is writer, teacher, journalist and artist. She did art school in Utrecht, was an intern in Hamburg and studied Dutch literature in Amsterdam. Became internationally renownded for her project Mothermilk cheese, in the 80-ties. Poppe wrote the tv-script for Necrocam: death online, directed by Dana Nechustan (award for best dramascript European Broadcasting Union -EBU- 2002). She made tv-programs and wrote scenario’s for computergames. Ine Poppe directed the documentary Hippies From Hell, about the group of hackers and activists that introduced the internet in the Nederlands and Them Fucking Robots about the Canadian robot artist Norman White.
Poppe nowadays leads the Hacking department at the Willem de Kooning Academie in Rotterdam, makes documentaires and contributes to transmedial projects. Ine just finished ‘Teeth‘ a documentary about her obsession with teeth in the broadest sense of the word. She wrote for Dutch newspaper NRC Handelsblad for more than ten years and recently wrote the scenario for The Modular Body, a trans medial project with Dutch artist Floris Kaayk that was released in April 2016. This project was awarded with a ‘Gouden Kalf’ -the Dutch equivalent of an Emmy award- for the best interactive project of 2016.
http://poppeenpartners.nl/

Nenad Popov
Nenad Popov is a media anarchist whose interests lie in, or better, between art and plain research. The output of these processes are live cinema pieces, sound installations, film installations, weird sound making contraptions, impossible collaborations and occasional parasitism on public cultural funds.
Not just that: huge amount of written code, public and private, interfacing this with that, embodied algorithms, alleged bar fights, organizing workshops and giving classes.
He has collaborated with many artists working in similar fields, such as Daan Brinkmann, Electronic Opera, Thomas Köner and Lillevan/Rechenzentrum. Solo performances include Dis- Patch, TodaysArt, E-Pulse and Share.
His latest research topics are possibilities of collaborating with non-human entities.
http://morphogenesis.eu/

Maya Rasker
Maya Rasker (b. 1965) wrote articles and essays for the daily newspaper Trouw and other publications before debuting in 2000 with the novel Met onbekende bestemming (Unknown Destination). The book won her the Gouden Ezelsoor (Golden Dog-Ear), the prize for the year’s best-selling literary debut. She has further published the novels Rekwisieten (Props, 2003) and Xenia (2005). Her work has been translated into English, German, Spanish and Hungarian.
http://www.mayarasker.com/

Frank Theys
Frank Theys is a filmmaker, writer and visual artist who lives and works in Brussels and Amsterdam. His experimental films have been shown at most major international venues and acquired for the collections of among others, the Museum of Modern Art (MOMA), New York, the Museum for Contemporary Art (SMAK) Ghent, the Museum for the Moving Image, New York and the Centre National de la Cinématographie, Paris. In 1992 he became director at Victoria Theatre in Ghent, Belgium, where he wrote and directed several award winning plays. In 1994 he received the honourable title of Cultural Ambassador of Flanders.
He started his own film production company in 1997. His recent documentary series Technocalyps, about the notion of transhumanism, was broadcasted in many countries and has generated several scientific and philosophical congresses on the subject, it has been the central work in several art exhibitions and cultural events worldwide. Frank Theys has lectured on the subject in numerous universities, art colleges and congresses in Europe, Asia and the Americas.
Frank Theys has taught at St-Lukas Film School (Brussels) and at DasArts, multidisciplinary Master’s course in the Performing Arts at the Amsterdam School for the Arts (AHK) and was a visiting teacher and lecturer at universities, film and art schools worldwide. He currently is a researcher at the KUL (Louvain, Belgium) and also teaches at the St-Lukas Art Academy in Ghent (Belgium).

Maki Ueda
Born in Tokyo, Japan, in 1974. Based in Japan and The Netherlands. Maki Ueda is an artist who incorporates the olfactory sense in art. She considers smell to be “new media”. Believing that “fewer visuals = stronger olfactory experiences”, she puts the emphasis on olfaction over the visual aspect in her work. She often uses scents to spark the imagination or to create perceptual confusion.
She has developed a unique combination of chemical and kitchen skills in order to extract the scents of daily life, including foods, ambient aromas, and bodily scents. She creates scents that capture childhood, identity, a mood, or a historical event. The results of her experiments take the form of olfactory installations and workshops.
Maki Ueda studied media art under Masaki Fujihata at The Environmental Information Department (B.A. 1997, M.A. 1999), Keio University, Japan. She received a grant from the Japanese government in 2000 and from the POLA Art Foundation in 2007. She has been based in The Netherlands since 2002. Nominated for The World Technology Awards Category: Art (NY, USA) in 2009, she occasionally teaches and gives workshops on olfactory art at ArtScience Interfaculty of The Royal Academy of Art and Royal Conservatory The Hague (NL), and at Willem de Kooning Art Academy (NL).
http://www.ueda.nl/

Caro Verbeek
Caro Verbeek (1980) is an art historian specialized in art and the senses. She graduated at the University of Amsterdam on the topics of olfactory (MA) and tactile (MA) art. She writes and lectures on olfactory and tactile art accompanied and designs multi-sensory tours for museums. She is currently working on a PhD on the role of olfaction during the avant-garde, which consists both of theory and actual olfactory (re)constructions that will enable us to literally inhale history of art.
http://www.caroverbeek.nl/

Hilt De Vos
Hilt De Vos is a professional Belgian director and actress that has worked extensively in theatre, for television and film. Hilt is also a dancer and teaches yoga and pilates.
http://www.hiltdevos.com/

Peter Zegveld
Peter Zegveld is an inspirator, theatre maker and visual artist. He was born in 1951 in The Hague and graduated from the Royal Academy of Fine Arts in The Hague. For more than twenty years he has been creating unique forms of theatre. His performances are visual, sensual and cinematic. Zegveld uses physical principles; The behaviour of light, air, noise and gravity. His performances communicate through little text but a richness in sound idiom. These are manipulated in such a way that everyday situations change into unusual events. Due to his enormous freedom of thought and unconventional attitude, Zegveld walks through various disciplines and allows the spectator to experience and discover absurdities. In addition to his own performances for theatres, numerous festivals and autonomous visual arts, he made performances for Orkater and television series for the VPRO. Peter Zegveld is artistic director of the Caspar Rapak Foundation.
http://www.peterzegveld.nl/