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Introduction to Game Studies (Seminar)

Dozent/in: Jan Müggenburg

Einzeltermin | Do, 04.11.2021, 09:45 - Do, 04.11.2021, 13:15 | HMS 139
Einzeltermin | Sa, 13.11.2021, 09:45 - Sa, 13.11.2021, 13:15 | HMS 139
Einzeltermin | Sa, 27.11.2021, 09:45 - Sa, 27.11.2021, 13:15 | C 5.326 (ICAM)
Einzeltermin | Do, 02.12.2021, 09:45 - Do, 02.12.2021, 13:15 | HMS 139
Einzeltermin | Do, 16.12.2021, 09:00 - Do, 16.12.2021, 12:00 | C 14.001
Einzeltermin | Do, 13.01.2022, 09:45 - Do, 13.01.2022, 13:15 | HMS 139
Einzeltermin | Do, 27.01.2022, 09:45 - Do, 27.01.2022, 13:15 | HMS 139

Inhalt: In the past two decades, digital games have evolved from a rather marginal phenomenon to a cultural practice that has permeated all areas of society. Building on the first pioneering works of computer game research in media and cultural studies (Pias, Wolf, etc.) at the turn of the millennium, academic research on computer and video games has also become professionalized in recent years and established itself as an academic discipline under the name Computer Game Studies (CGS). As a young research field, CGS is characterized by its highly interdisciplinary and heterogeneous perspective; on the other hand, its representatives are still busy defining the boundaries of their own discipline, canonizing its basic theoretical approaches, and developing new research perspectives. Building on the classical approaches of a narratological, ludological, or media-technological engagement with computer games, exciting new research questions have emerged in recent years. These include formal-aesthetic questions about space, perspective, or sound in computer games, as well as broader aspects such as the representation of gender in computer games, history in games, games as political media etc.

Old Knowledge, New Techniques - Understanding Museum Data (Seminar)

Dozent/in: Fabio Mariani, Lynn Rother

14-täglich | Dienstag | 14:00 - 17:30 | 19.10.2021 - 25.01.2022 | HMS 231/232
Einzeltermin | Di, 16.11.2021, 14:00 - Di, 16.11.2021, 17:30 | C 40.601

Inhalt: Art museums acquire, preserve, research, communicate, and exhibit the cultural heritage of humanity. Their collections of cultural artifacts are both the source and the purpose of their activities. Everett Elin, the first Executive Director of the Museum Computer Network, wrote in 1969 that “in the brave new electronic world, few bastions of the humanities have withstood the march of technology more tenaciously than the art museum.” Today, 50 years later, art museums host hackathons and provide APIs that allow developers and researchers to access data on artifacts in their collections programmatically. In addition to image files, collection data usually consists of the names of the artists or the place of origin, the titles of the artworks, the years in which they were created, the dimensions of the works, and sometimes information about the history of ownership of an object, known as provenance. This information is key to identify and, if necessary, return unlawfully appropriated artworks in museum collections that were looted during the Nazi era or in a colonial context, for example. This is why claimants and countries of origin demand accessibility to collection data, especially from European and North American museums. Despite this, provenance is among the least published data to date. Where are museums in terms of digital transformation? With regards to accountability and accessibility? By specifically looking at the current practice of online museum collections we will explore the potentials and limits of the digital. What does it mean to transfer analog object and provenance information into structured machine-readable or Linked Open Data? The class will have theoretical and practical parts.

Operational Images/ Visual Culture (Seminar)

Dozent/in: Robert Rapoport

14-täglich | Dienstag | 14:00 - 17:30 | 26.10.2021 - 01.02.2022 | HMS 139

Inhalt: How does machine learning--occupying an ever-larger part of cultural production--manifest visually? How does the high dimensional space of a neural network enter the social imaginary? We will be looking at how visual culture comes to terms with machine learning—beginning with the post-war synergies of art and technology; we will track early attempts to combine art and cybernetics, up through the net art and into the present. With a core focus on visual culture, we will look at the ethics of image production in parallel.