Courses

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
Course Heremans
Course Theys
Course Zegveld
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
Movement Matters 2.0
New Arts & Music Theory
The ‘Other’ Senses
‘Patafysica
Presentation as Performance
Professional Practice Praparation
Pro Projection
Quick & Dirty
RecPlay
Redeconstruct Media
Rotating Speaker 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
Spectra 2
Studium Generale
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



Course Heremans
Roel Heremans
Mandatory for: free choice (CASS Exchange Workshop)

More information to follow.

Credits: 2 ECTS
No. of classes: 5 classes of 6 hours
Objective: To be announced.
Examination: attendance, assignment



Course Theys
Frank Theys
Mandatory for: free choice

More information to follow.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To be announced.
Examination: attendance, assignment



Course Zegveld
Peter Zegveld
Mandatory for: free choice

More information to follow.

Credits: 4 ECTS
No. of classes: 8 classes of 6 hours
Objective: To be announced.
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: free choice

A practical course about 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 Marac
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



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

According to Alfred Jarry, ‘pataphisics relate to metaphysics as metaphysics relate to physics. More information to follow.

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.

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



Professional Practice Preparation
Martijn Verhoeven (KABK) et al
Mandatory for: B3

A week into reality: in the morning, lectures and discussions with people from the world after graduation — professional artists from different disciplines, gallerists, festival programmers and more. In the afternoon, workshops about all the practicalities you will face s an artist in the real world. A collaboration with the Fine Arts department of the KABK.

Credits: 2 ECTS
No. of classes: 4 classes of 6 hours
Objective: To gain insight in diverse important aspects of professional artistic life.
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 Speaker Workshop
Robert Pravda
Mandatory for: free choice (CASS Exchange Workshop)

A workshop around Robert Pravda’s rotating speaker system. More information to follow.

Credits: 2 ECTS
No. of classes: 5 classes of 6 hours
Objective: To learn how to compose for rotating speaker systems.
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
Robert Pravda
Mandatory for: free choice

Advanced course on the workings and possibilities of sound. More information to follow.

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



Spectra 2
Julia Willms, Andrea Božić
Mandatory for: free choice (CASS Exchange Workshop)

More information to follow.

Credits: 2 ECTS
No. of classes: 5 classes of 6 hours
Objective: To be announced.
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



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