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(developed from the original concept ifuz.net 01 Raumprojekt Raum 01)

local implementation


Experimental Bureau in Frankfurt.

Ifuz Net - Experiments with architectures of cooperative creation.

The artists involved are acting independently while they are connected with a managed context of structures and impulses, which sometimes serve as an operating system, an inspiration, a challenge, on one side, a display, stage, platform, or plot on the other.

The Experimental Bureau e57 in Frankfurt is a local representation with some special derivations as result and additional goals in the field of knowledge transfer and infrastructure pooling.

But most aspects of the resulting plots are not limited to a local setting, they can interact and enfold their dynamics everywhere.

Cooperative productions are not unknown in arts, when we think of theater; film, music, but in many other arts they are less abstracted or often designed for the improvement of commercial distribution.
In both cases the cooperation characteristics usually are optimized to create the expected rather than the unexpected, to satisfy a goal in a way desired by the 'client', rather than to confront with the necessity of a new one.
The best idea is sought for to fit into a context rather than the best idea which could serve a twist, inspire a new view.
(Think of a band, gathering with the aim to compose a song in a session, with the eventual result that the drummer is standing up and painting a picture. Or a theater piece, where the actor suddenly is leaving the stage to write a poem which he then is holding up to the audience instead of continuing with the text from the play).

Ifuz Net's architectures meanwhile are designed to bring up surprises, new views, challenges.

In the Ifuz Net experiments we have plots (basic story set ups, fictious bodies (institutes, organisations etc)), we have samples, abstractions, patterns, which serve as initial context and inspirations. A coordinator, or interpreter (, or catalyst) (I have discarded the word 'director' meanwhile because it carries a hierarchical concept which is not true here) is connecting the artists with (some of) those ingredients or elements, and eventually has to reorganize and reinterpret the plot after it is being confronted with the resulting work of the artist. This interpretation, as well as the coordination, is crucial to lift the combination of works beyond a collection and to enable the indivdidual artists to create works that go beyond what they usually would have done.

There are several consequences resulting from this way to proceed, not all of them I want to describe here, but some can be summarized in: a change of characteristics in the individual result, an escalation in complexity, a raise in the degree of innovation, an additional perspective in the abstraction of creation processes.

the list of aspects (under construction):

aspects for students / artists
-- an artwork immediately has a platform for exposure, in some cases it even can generate a platform itself
-- the artist is confronted with a challenge that is becoming a special inspiration, as it probably is something she or he normally would not have selected her/himself. this often leads to extraordinary results as it can open doors to new rooms - for the artist, too.
-- depending on the actual implementation: artists are connected to each other in subcontexts
-- depending on the actual implementation, the individual persons, and varying communication protocols: the interaction with the interpreter helps develop new views for the artists on their own developing work and improvements or twists into new directions

aspects in general
-- new dynamic forms of exhibitions
-- dynamic development of techniques and new ways of their application through the coordinated interchange
-- reflection or rather discourse of copyright and creation aspects

aspects for the works and the context
-- intertext(uality), relations, references, are created, works appear in aspects, views, gain dimensionality, multiple character that links contexts

aspects of reflection
-- creation as individual effort vs intelligence as a context driven intelligence
-- not limited to arts while the 'entities', 'plots', 'contexts' may remain fictions, artworks, they may interact with 'reality', or rather act in reality (as entities) or involve reality (which dissolves the arguable border between fiction and reality)

aspects for research
-- cooperative forms, communication protocols are experimented with, to find and develop ways to gain a high output of new views and make them intelligible in the same moment.

commercial aspects
-- if a place like the Experimental Bureau establishes a gallery view, (some) artworks can be sold
-- if a place like the Experimental Bureau features a creative module, commercial projects can be derived, or better: plots can can act as commercial entities in the so distinguished real world


Of the recent implementations two experiments may be taken out as examples:

Vive la dictature!,

Vive la dictature! is a plot which sketches a world administered by a fictious clothing company.
This world is represented in an exhibition of the Experimental Bureau (and will have a different online representation, which still is under construction).
The plot is based around aspects of consume, cognition, dictatorship, choice, symbols, each with a continuing metamorphosis of functions and the plot in a continuing metamorphosis itself.

Artists receive impulses from the plot, and/or from elements of different kinds (colors, objects, abstractions,metaphors) to make works to be presented and reappear in the plot (and in the exhibition).
They do not necessarily all know the entire context and its interpretations and they have the option to break with it, too.
Their 'answer' ('result') now puts a challenge to the interpreter(s) (, director(s), plot writer(s), catalyst(s)), who has to reinterpret the plot or even start new threads as result.
The interpreter has to reorganize 'viveladicture' as a coherent artwork, exhibition, play, room, space, a metamorphosis, discourse. However: so that it will not become just a collection of the results, but in itself a complex artwork with connections between the individual works, metaphorizing views on each other..
'Results' or 'answers' are not limited to any media or form and already include various forms of views, objects, installations, pictures, photos, videos, sound, characters (photos, objects, etc. that create, imply, or transport a character which then reappears in other works), abstractions, metaphors, a seminar, and - new threads that step out of the plot in part or whole and open new spaces.

(some photos, videos here)
(screenshot characters, eva, yuko)
(screenshot jasmina c with the gun and a dictator metaphor)
(screenshot eva in)
(photos the golden stage)
(screenshot interference patterns)
(screenshot techniques: as carrier of meaning and view, (druckbild LT)
(photos -> element development of techniques and ways of their application)
(screenshot abstractions: interference patterns)
(screenshot new threads dolls, art with copyright elements, album covers, new format TV)
(screenshot fenced barbie, tines barbie, barbie without head, albums jörg)
(screenshot elements from an interference pattern)

other example: transshopping a metaphor and abstraction pattern as underlying operating system (or pattern), starting point and catalyst for interpretations by artists and designers*

*in this experiment there is no border drawn between artists and designers (or non-artists), the basic pattern can be interpreted by both. The whole 'entity' has art aspects, but the indivdiual participents do not necessarily have to. (Actually, all experiments are not necessarily categorized and can move and develop through in domains.)

principle is described at:

additional remarks:
Transshopping is changing the cognition and behaviour of shoppers and designers:
While designers (artists) offer their talent in a new way, consumers are provoked to act in a creative attitude themselves in contemplating a challenge to the designers or artists.
While some might search for something that would fit the designers style the best, others are keen to come up with a very surprising task.
The result often is something that triggers a succession of new creations by the artist/designer which would not have taken place without the inspiration by the client (or 'shopper').

Another new aspect lies in the way the 'transformers' are connected and ideas are exchanged. The flow from inputs and results from interchange can be visualized and expand the behaviour and cognition of the artists (f.e. fear of the success of the competitor is replaced by the acknowledgement of the benefit from interactions and the success of the community).

local implementation


Experimental Bureau in Frankfurt.

special aspect: the creator vs the agent - a competition of metaphors?

It might not always be the wish of an artist to see her- or himself as a part of a process, it seems more desirable to reflect oneself as the one (genius) who is conducting, the one who is creating and deliberately selecting her (his) influences and inspirations, techniques, and associations her- or himself.
An effort which embed artists into a cooperating structure thus might be sensed as an assault against this self-reflection by some, while others will be curious to experiment with new architectures.

We are trying to consider both sides of the medal in the same time, yes we might even proclaim a competition, a clash, or better a game of the two metaphors. (I like to denounce them metaphors as they describe the same process with different filters or views).
The artist as the creator vs the artist as an agent is a constant productivity source as artists and coordinators/interpretors constantly seek to apply the opposite views
A relation which might turn out as an egg/chicken question in the end, with both views right.

It is now crucial that this competition / opposites is channeled into synergies by the architecture or implementations.

to be continued...

special aspect 2: order as information carrier vs. breaking of order as high information (order as redundancy)

If we look at interpretations of Turing's mathematical theory of communication we find two ways which describe the relation of order and information in seemingly contradictory ways:
One says that order carries information and the other one says that the potential maximum information of a sign in a sequence of signs is when there is no order at all.

Let's assume that every day at 4.30 pm a train arrives from Cincinatti.
In this case the news that today a train arrived from Cincinatti has little news for us. We knew already it would.
Assume the message was today no train arrived, that would be different.So the regular information has little information value, it has none if there is no exception (it never occurs that the 4.30 train does not arrive).
On the other hand the reoccurance of the same event helps us understand the world: Assume there is no schedule, we would only know through the regularity that tomorrow our train from Cincinatti will arrive at that particular time, while the irregular single news of a day when a train did not arrive only has little value, as it only warns us of a little insecurity.
So in this view: the indivdual regular news has little information for us, the regularity has.

(Which implies the development of new mathematical theory of communication, one that consideres the complexity of syntax and semantics. This is another project of Ifuz Net. Please make contact for informations).

What does this have to do with our experiments?
While the artist attempt is to give his or her work as much information value as possible and thus to break order, the interpreter tries to order works to give as much information as possible through regularities or order levels.
He or she (the interpreter) together with the artist play a game of chess here which is tried to be optimized into a symbiosis, at least avery good relation between the two language elements of syntax and semantics.
(Still the artist can be interpreter, too, in taking out his work and putting it in another context, too)