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        <page id="about">
            <title>about</title>
            <text_jp><![CDATA[本展は、多摩美術大学とドイツ・ベルリン芸術大学で、今年度から始まった交換留学制度を基に企画された、有志合同学外展です。
この交換留学制度によって、友人がドイツへ向かい、代わりに日本へ新たな友人がやってきました。講義や食事を共にし、互いの作品の事を話し、同じアトリエで製作し、さらにはこの展示の準備を進めるといった過程を通して様々な考えが交換（exchange）され、互いに共鳴（resonance）することで、多くの新たな思考や可能性が生まれてきました。私たちはこの展覧会を、作品展示の場としてだけでなく、新たな交換と共鳴が生まれ、何かを考え始めるきっかけとなるような場にしたいと考えています。
日本とドイツの若いアーティストによる先鋭的なメディア・アート、デザインを是非お楽しみください。]]></text_jp>
            <text_en><![CDATA[This group show was created this year to celecrate the initiation of an international exchange program vetween Tama Art University and the Berlin University of the Arts (UDK). This progam allows Tama students to study in Berlin, in exchange for which UDK students get the opportunity to study in Tokyo. By attending lectures together, sharing meaks, sharing studio space, and collaborating on a group show, students from both universities are provided with an excellent forum to speak about their artwork and discover new ideas and artistic possibilities. We created this exhibition not simply as a means of displaying our artwork, but rather as a place to initiate new exchanges and catalyze new ideas.
We hope you enjoy this clooection of radical new media art and design craeted by young Japanese and German artists.]]></text_en>
        </page>
        <page id="idd">
            <title>idd</title>
            <text_jp><![CDATA[多摩美術大学情報デザイン学科（IDD）情報芸術コースではデジタル・テクノロジーやバイオ・メディアなど様々なメディアを活用したインスタレーションやパフォーマンス、映像音響作品、写真、ソフトウェア・アート、バイオ・アート、デジタル・アニメーションなど多彩な芸術表現に取り組んでいます。
また、大学院では作品制作だけでなく、緻密なリサーチやフィールドワークによって、自らの思考と行為のプロセスを論文にまとめます。こうした実践的な制作研究によって、芸術・科学・技術・哲学の統合的な理解を目指しています。]]></text_jp>
            <text_en><![CDATA[In the Tama Art University Information Design Department (IDD) Information Arts Course, students create technology and bio-media-driven installation, performance art, audiovisual art, photography, software art, bio-art, and digital animation.
In addition to producing artwork, IDD graduate students conduct extensive fieldwork and take workshops, through which they compile their thought processes into a final dissertation. This production reserch is essential as a means of providing graduate students with a balanced understanding of art, science, technology and philosophy.]]></text_en>
        </page>
        <page id="udk">
            <title>デジタルクラス</title>
            <text_jp><![CDATA[ベルリン芸術大学デジタルメディアデザイン学科では、ヨアヒム・ザウター／ユッシ・アンジェスレヴァ指導のもとデジタル・メディア／カルチャーを研究し作品制作を行っています。この学科では、既存の方法論に固執することなく、現状に疑問を投げかけ、様々な実験的試みを通じて、未来への可能性を探っています。
具体的にはプログラミングやエレクトロニクスなどの技術的分野を、伝統的な芸術分野と融合することにより、十分に考え抜かれた完成度の高いアート、デザインを生み出しています。また研究テーマを半年毎に変え、常に現状に応じた社会現象を見据えながら新たな可能性を探求しています。
本展では、このデジタルメディアデザイン学科の考え方を多くの方々に紹介していきたいと思っています。主に「Extended Photography」と「Indie Design」という二つのテーマに重点をおき、近年の研究・作品をまとめて展示します。]]></text_jp>
            <text_en><![CDATA[Digital Media Design department (Digitale Klasse) at the Berlin University of the Arts lead by Prof Joachim Sauter & Prof Jussi Ängeslevä looks critically at the emerging trends in digital media and culture.
Instead of focusing on specific tools, the department's ethos is to question the status quo and experiment with possible futures. Mixing programming, electronics and mechanical systems design to traditional visual communications skill sets, the resulting works are believable and well-thought-through works of design and art. Switching the focus every half a year, the works question timely topics and propose possible futures.
The exhibition attempts to convey the general attitude and way of thinking of the Digital Media Design department. Alongside a condensed retrospective of works over the last few semesters, a common theme looking at Extended Photography and Indie Design play a key role in the show.]]></text_en>
        </page>
        <page id="on">
            <title> </title>
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        <page id="at">
            <title> </title>
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        <page id="sponsor">
            <title>スポンサー</title>
            <supported>
	            <sponsor>
					<name>heteml</name>
					<image>./images/sponsor/heteml_logo.gif</image>
					<url>http://heteml.jp/</url>
				</sponsor>
        	    <sponsor>
					<name>三和印刷株式会社</name>
					<image></image>
					<url>http://www.sanwa-printing.com/index.html</url>
				</sponsor>
            </supported>
            <cooperated>
        	    <sponsor>
					<name>多摩美術大学情報</name>
					<image></image>
				<url>http://www.tamabi.ac.jp/</url>
				</sponsor>
        	    <sponsor>
					<name>多摩美術大学情報デザイン学科研究室</name>
					<image></image>
					<url>http://www.idd.tamabi.ac.jp/</url>
				</sponsor>
        	    <sponsor>
					<name>ベルリン芸術大学</name>
					<image></image>
					<url>http://www.udk-berlin.de/</url>
				</sponsor>
        	    <sponsor>
					<name>株式会社 竹尾</name>
					<image></image>
					<url>http://www.takeo.co.jp/</url>
				</sponsor>
    	        <sponsor>
					<name>Gallery LE DECO</name>
					<image></image>
					<url>http://home.att.ne.jp/gamma/ledeco/</url>
				</sponsor>
    	        <sponsor>
					<name>AMP Cafe</name>
					<image></image>
					<url>http://www.koenji-high.com/ampcafe/</url>
				</sponsor>
            </cooperated>
        </page>
    </page_list>
    
    <!-- 出展者設定. -->
    <artist_list>
        <idd>
            <artist id="0">
                <photo>./images/artists/idd/tadahi.jpg</photo>
                <name_jp>多田ひと美</name_jp>
                <name_en>Hitomi Tada</name_en>
                <title>scope_00</title>
                <type>observation device</type>
                <concept_jp><![CDATA[《scope_00》は新しい視覚体験を探るプロジェクトとしてスタートしました。
通常、"scope"とは世界を微細に見ていく装置ですが、このプロジェクトにはその観察方法を開拓していくという意図があります。
この最初のバージョン《scope_00》では、空間と時間に焦点をあてた観察方法を設定しました。
鑑賞者はスコープを覗いて動かしながら空間を探索することで、観察ポイントにおける新たな時間の流れを見る事になります。]]></concept_jp>
                <concept_en><![CDATA[scope_00 started as a search for a new way to experience sight. Usually, a scope is a device that looks at the world in minute detail, but in my piece I attempted to reclaim this traditional mode of viewing and use it a different manner. In this initial version, scope_00 I focused on space and time in setting the observation method. By looking through the scope and moving it around, the viewer is able to see a new flow of time.
]]></concept_en>
                <prefectures>Kagawa japan　香川　日本</prefectures>
                <url>http://tadahi.com</url>
            </artist>
            <artist id="1">
                <photo>./images/artists/idd/tomari.jpg</photo>
                <name_jp>泊佳考</name_jp>
                <name_en>Yoshitaka Tomari</name_en>
                <title>voice voyager</title>
                <type>software</type>
                <concept_jp><![CDATA[《voice voyager》はヒトの”音声”をインターフェースにした、ソフトウェアである。体験者は、設置されたマイクに向かって言葉を発すると、音声認識システムを介し言葉が認識され、その後音響処理が行われる。例えば、ドラムの音のような擬態語を発すれば、ドラム音のシーケンスが開始され、単語として認識できるような言葉を発した場合は、WEB上のデータベースを介して、その単語の意味に近いサウンドやイメージをカットアップ的に挿入を行うなど、発せられた"音声"の状態を様々な角度から認識、解析することで、体験者の思うままにサウンドの演奏を可能にした作品である。]]></concept_jp>
                <concept_en><![CDATA[voice voyager is a software program that uses the human voice as its interface. Words spoken into the microphone are captured and processed by voice recognition software. For instance, if the user imitates the sound of a drum, a drum sequence will be created. If the user says a word that the software recognizes, the program looks that word up on the internet and inserts a sound or image that is close to the word’s definition. By interpreting sounds in various ways, this piece allows the user to create their own freestyle performance.]]></concept_en>
                <prefectures>Tokyo JAPAN　東京　日本</prefectures>
                <url>http://web.me.com/tomyosh/</url>
            </artist>
            <artist id="2">
                <photo>./images/artists/idd/sato.jpg</photo>
                <name_jp>佐藤紀行</name_jp>
                <name_en>Noriyuki Sato</name_en>
                <title>shape</title>
                <type>photograph</type>
                <concept_jp><![CDATA[私はブレによる写真表現を行っている。ブレを積極的に表現することで被写体の動きの中に方向感覚、思考の感覚を表していきたいと考えている。ブレとは被写体もしくは撮影者の動きに他ならないが、その動きとは方向性を表すだけでなく、思考をも表していると考えている。思考とは概念であってそれ自体が目に見える存在ではないが、ここでの思考の感覚とは視覚的な感覚として意味づけを行うということである。今回の作品は、水中という空間の中で重力という上下の感覚からから解放された人の動きというものを捉えるということと、水中であることとブレるということに親和性があるのではないかとの考えから制作した。]]></concept_jp>
                <concept_en><![CDATA[My artwork utilizes blurred photography. By purposefully blurring my images, I hope to express a sense of direction and thought within the movement of the photographic subject. Although a blurred image is technically no more than the result of movement on the part of the subject or the photographer, I believe that said movement, beyond merely showing the subject’s trajectory, also expresses a sense of thoughts or ideas. These thoughts or ideas are not visible to the eye, so in my studies I use blurred photography as a visual means of representing an invisible concept. In this work, I have taken underwater photos where the subject has been freed of the forces of gravity, and I believe there is an affinity between the blur and the sense of being underwater. 
]]></concept_en>
                <prefectures>Yokohama　Japan　横浜　日本</prefectures>
                <url>---</url>
            </artist>
            <artist id="3">
                <photo>./images/artists/idd/toyo.jpg</photo>
                <name_jp>豊嶋七瀬</name_jp>
                <name_en>Nanase Toyoshima</name_en>
                <title>about it</title>
                <type>performance with dialogue and video</type>
                <concept_jp><![CDATA[電話越しに話しているとき、私たちはきっと正確なイメージのやり取りは出来ていないでしょう。
それぞれに会話を出発点として、様々なことを連想し、そこから違うことを考えていたり。
その証拠に、ふと会話はあさっての方向へと飛んでいってしまう。
そのときあなたは何を考えていました？
さて、私たちの間にどれだけの他愛無いズレがあるのでしょう。]]></concept_jp>
                <concept_en><![CDATA[When we speak on the phone, we are not exchanging images in an accurate way. Using the phone as a point of departure, each speaker follows a different train of associations and thinks of different things. We often lose sight of the original meaning of a conversation in this process. When that happens, what are you thinking? How much of a gap exists between our perceptions?]]></concept_en>
                <prefectures>Gunma Japan　群馬　日本</prefectures>
                <url>http://no-142857.com</url>
            </artist>
            <artist id="4">
                <photo>./images/artists/idd/kimura.jpg</photo>
                <name_jp>木村功平</name_jp>
                <name_en>Kohei Kimura</name_en>
                <title>AQUA POINT</title>
                <type>installation</type>
                <concept_jp><![CDATA[「水の体感」をテーマに作品を展開
「水」は流動的な物質であり流れの中でさまざまな形態、模様を生み出しながら存在する。一瞬のうちに浮かび上がり、そして消えてゆく姿ははかない「時」の流れを感じさせ、絶え間ない自由な動きは見るものを魅了する。
その水の美しさに惹かれ、作品の中で水という素材と向き合うことで新たな「水のデザイン」として展開することを試みる。
作品の中で水の素材と魅力を演出することによって、水の世界を体感することが出来るインスタレーション作品を実現しようとした。
 ]]></concept_jp>
                <concept_en><![CDATA[My theme deals with the bodily sensation of water.　Water is a fluid substance that can form a vast array of shapes and patterns with its movement. These shapes and patterns appear suddenly, then disappear just as quickly in a perpetual and　mesmerizing sequence of free movement that brings to mind the ephemeral nature of time. Drawn by the beauty of water, I am developing a new form of design using water as my medium. My installation uses water to create a virtual sensation of the underwater world that the viewer can truly feel.]]></concept_en>
                <prefectures>Hiroshima Japan　広島　日本</prefectures>
                <url>---</url>
            </artist>
            <artist id="5">
                <photo>./images/artists/idd/ito.jpg</photo>
                <name_jp>伊藤大茂</name_jp>
                <name_en>Hiroshige Ito</name_en>
                <title>Pulse of internal (installation)</title>
                <type>installation</type>
                <concept_jp><![CDATA[私たちは何を感じ、何を見ているのだろうか。
体験はたくさんのイメージと結びつく。
私はイメージを混ぜたり壊したりすることで、光と物質の間から人間の存在に問いかける。]]></concept_jp>
                <concept_en><![CDATA[What do we feel, what do we see? Our experience is comprised of a sequence of images. By mixing and disrupting these sequences of light and materiality, I question human existence.]]></concept_en>
                <prefectures>Aichi　Japan　愛知　日本</prefectures>
                <url>http://www.hazy-tree.com/</url>
            </artist>
            <artist id="6">
                <photo>./images/artists/idd/karasuda.jpg</photo>
                <name_jp>烏田晴奈</name_jp>
                <name_en>Haruna Karasuda</name_en>
                <title>まわる "Turn"</title>
                <type>animation</type>
                <concept_jp><![CDATA[作品「トムとジェリー」における音楽と映像の関わりを研究し、その研究結果から特に「効果音的楽音とアニメーションの組み合わせを楽しむ」
を重要なテーマにおき制作した作品。ボールから出うる様々な効果音、またボールが転がる速度や衝撃の度合いなどの細かい差異なども楽音で表現し、
それを楽曲として成り立たせた。また打楽器の多種多様な音とアニメーションの組み合わせ、演奏の表現力がアニメにどのような影響を及ぼすかの実験でもある。]]></concept_jp>
                <concept_en><![CDATA[In Turn, I analyzed the relationship between sound and image in the cartoon Tom and Jerry. As a theme, I placed particular emphasis on enjoying the interaction of special effect sounds and animation. For example, delicate sounds, such as those a ball makes when rolling or upon impact, are used as elements in a musical composition. This piece also investigates the influence that a broad array of percussion sounds has on the animation as a whole.]]></concept_en>
                <prefectures>Hiroshima　Japan　広島　日本</prefectures>
                <url>http://www.youtube.com/user/kalatexin</url>
            </artist>
            <artist id="7">
                <photo>./images/artists/idd/odaira.jpg</photo>
                <name_jp>オオダイラメグミ</name_jp>
                <name_en>Megumi Ohdaira</name_en>
                <title>電柱(Poles)</title>
                <type>installation</type>
                <concept_jp><![CDATA[電柱のある風景は普通に見ればただの一枚絵である。しかし、見方を変えるだけで風景はこのように変わってしまう。これは、わたしの知覚経験そのものである。]]></concept_jp>
                <concept_en><![CDATA[At first glance, this utility pole appears to be a simple two-dimensional image. However, it changes like this when the point of view is altered. This is a representation of my personal visual experience.]]></concept_en>
                <prefectures>Tokyo　Japan　東京　日本</prefectures>
                <url>http://sowyer888.org/</url>
            </artist>
            <artist id="8">
                <photo>./images/artists/idd/hikino.jpg</photo>
                <name_jp>曳野真帆</name_jp>
                <name_en>Maho Hikino</name_en>
                <title>MIRROR#3</title>
                <type>video installation</type>
                <concept_jp><![CDATA[私はこれまで、《MIRROR》というビデオインスタレーション作品シリーズを制作してきました。鏡に絵の具を塗り、手で水を含ませていく事で、その絵の具はしたたり、にじみ、ゆらぎを生み出します。絵の具そのものがもつ物質的な魅力や、新しい「絵画」の可能性を提示します。
今回の《MIRROR#3》では、キャンバスを吊り、その上に映像を投影しています。絵の具のしたたりやにじみは、キャンバスの枠を超え、広がっていきます。
そしてまた、絵の具が作り出す「ゆらぎ」は、私たちの感情や身体の根源的な部分に共鳴し、静かにその波を広げていくことでしょう。]]></concept_jp>
                <concept_en><![CDATA[I have been working on  a video installation series titled Mirror In it, I apply paint to the surface of a mirror that, when mixed with water, drips, wobbles, and mixes together. In these pieces, I present the innate beauty of the paint as well as exploring new possibilities of what a painting can be.  In MIRROR #3 which I present in this exhibition, images are projected on a canvas that hangs in the gallery space. The paint drips and mixes, extending beyond the confines of the frame itself. The wobbling motion of the paint as it drips down the canvas resonates with a fundamental part of the human body and mind.]]></concept_en>
                <prefectures>Hyogo　Japan　兵庫　日本</prefectures>
                <url>http://hikino-maho.com/</url>
            </artist>
            <artist id="9">
                <photo>./images/artists/idd/karin.jpg</photo>
                <name_jp></name_jp>
                <name_en>Karin Pisarikova</name_en>
                <title>Look me in the eyes</title>
                <type>installation</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[My current project Look me in the eyes is based on a similar concept ad Diet and is dealing with another aspect of my  experience in Japan. That is being watched.
..."We hope the cameras will deter crimes. And we want to assure the public that Akihabara has become a safe place," Chiyoda Ward spokesman Kazuhisa Yamaguchi said.
To make people feel safer, the area has installed security cameras. Make that, to make people feel safer, the area is asking individuals to give up their privacy."
I read in the papers. 
Safeness comes at a price of secret cameras and Neighbourhood  watchers. As an eye contact is sometimes denied, cameras seem to be the perfect indirect way.
My aim is an interactive installation, where you can establish and eye contact with the harmless big plush bear, but he will remember you later.]]></concept_en>
                <prefectures>Brno, Czech Republic</prefectures>
                <url>http://karinp.carbonmade.com/</url>
            </artist>
            <artist id="10">
                <photo>./images/artists/idd/mario.jpg</photo>
                <name_jp></name_jp>
                <name_en>Mario Milakovic</name_en>
                <title>The Sugar Warehouse</title>
                <type>photography</type>
                <concept_jp><![CDATA[場所：

 ボスニア・ヘルツェゴビナ
 ブルチコ
 サヴァ河港 "ルカ　ブルチコ"
 倉庫 - 港の主要な格納庫

年表：
・1941年12月10日-  ブルチコという小さな町の、168人から成る全ユダヤ人コミュニティーが橋の上でハンマーによって殺害された。彼らの死体はサヴァ河に投げ捨てられた。この大虐殺はブルチコの港から100メートルほどのところで起こった。
・1941年12月14日- オーストリアにおけるナチスの迫害から逃れたチェコやスロバキア出身の236人のユダヤ難民の大虐殺。彼らは全員、サヴァ河岸のブルチコの港で処刑され、死体は河に投げ捨てられた。
・第二次世界大戦後、ボスニア・ヘルツェゴビナはユーゴスラビア社会主義連邦共和国の一部となった。
・1973年、サヴァ河での貿易が活発になってきたことにより、ブルチコの港にひとつの倉庫が建てられた。それは236人のユダヤ難民が殺害されたまさにその場所であった。
・1992年3月1日- ボスニア・ヘルツェゴビナがユーゴスラビアからの独立を宣言し、それは内戦を引き起こした。
・1992年3月7日～1992年７月上旬 - 港の倉庫は戦争捕虜収容所となり、そこでは何百人も犠牲者が容赦なく拷問にかけられ、強姦され、殺害された。
・1995年に内戦が終結した後、倉庫はしばらくの間、空のままだった。2000年代に、強い経済変化の波に乗って、地方政府当局は物品を保管する目的でいくつかの会社にその倉庫を貸した。
・現在、その倉庫は民間の製糖会社によって、砂糖の山を保管するために使用されている。

 一連の写真は今日の倉庫を表している。]]></concept_jp>
                <concept_en><![CDATA[Location:
 Bosnia and Herzegovina
 Brcko
 Port on the Sava river "Luka Brčko"

 Warehouse - Ports Main Hangar Building

Time-line:
•December 10th 1941 - The entire Jewish community of 168 people in the small town of Brcko were eitherslaughtered or killed by hammers on the bridge. Their dead bodies were thrown into the
Sava river. This massacre happened 100 meters from the Brcko Port.
•December 14th 1941 - Massacre of 236 Jewish refugees who had escaped from the Nazis in Austria and were coming from the Czech and Slovakia. They were all executed on the bank of Sava river, at Brcko Port, and their corpses were thrown into the river.
•After WWII Bosnia and Herzegovina became a part of Socialist Federal Republic of Yugoslavia.
•In 1973, due to increased trade on the river, a warehouse was built at the same place in Brcko Port where 236 Jewish refuges were killed.
•March 1st 1992 -  Bosnia and Herzegovina announced independence from Yugoslavia, which lead to civil war.
•May 7th, 1992 - early July, 1992 -  the port warehouse was turned into a war prison camp where hundreds of victims were brutally tortured, raped and killed.
•After the civil war ended in 1995 the warehouse was left empty for a while. In the 2000s, due to a strong wave of economic transition, local government authorities rented the warehouse to a few different companies for the purpose of storage goods.
•Nowadays the warehouse is used by a private sugar refining company for storing stacks of sugar.

 Series of photos is shows the warehouse today.]]></concept_en>
                <prefectures>Belgrade, Serbia, Balkans</prefectures>
                <url>---</url>
            </artist>
        </idd>
        <udk>
            <artist id="0">
                <photo>./images/artists/udk/imagefulgurator.jpg</photo>
                <name_en>Julius von Bismarck</name_en>
                <title>Image Fulgurator</title>
                <type>interactive object</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[The Image Fulgurator is a device for physically manipulating photographs. It intervenes when a photo is being taken, without the photographer being able to detect anything. The manipulation is only visible on the photo afterwards.
In principle, the Fulgurator can be used anywhere where there is another camera nearby that is being used with a flash. It operates via a kind of reactive flash projection that enables an image to be projected on an object exactly at the moment when someone else is photographing it. The intervention is unobtrusive because it takes only a few milliseconds. Every photo another photographer takes of an object at which the Fulgurator is also aimed is affected by the manipulation. Hence visual information can be smuggled unnoticed into the images of others. ]]></concept_en>
                <url>http://www.juliusvonbismarck.com</url>
            </artist>
            <artist id="1">
                <photo>./images/artists/udk/extractsofLocaldistance.jpg</photo>
                <name_en>Benjamin Maus / Torsten Posselt / Frederic Gmeiner</name_en>
                <title>Extracts of Local Distance</title>
                <type>computational photography</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[‘Extracts of Local Distance’ plays with the automatic extraction of perspective related elements out of architectural photographs to create new impressions of our environments and landscapes.The resulting collages introduce a third abstract point of view, besides those of architect and photographer. In order to produce these new images, the original pictures are analysed according to their vanishing-points and shapes. Based on this analysis, slices are extracted from the source image where each slice retains the information of its position corresponding to the original vanishing-point. These extracted image segments are the base to form collages of originally different pictures with a new common perspective.]]></concept_en>
                <url>http://www.localdistance.org</url>
            </artist>
            <artist id="2">
                <photo>./images/artists/udk/artificialsmile.jpg</photo>
                <name_en>Andreas Schmelas / Stafan Stubbe</name_en>
                <title>Artificial Smile</title>
                <type>interactive object</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[The tools we use change the way we perceive and understand ourselves. Since the 1950s the proliferation of the amateur camera has allowed for the mass documentation of our individual self and our portrait. The staging of the image and how we 'look' or represent our selves changed as we learnt in part to 'play-to-the-camera'. Editing softwares such as Photoshop lead to further changes and to the 'touching' up of our image in the pursuit of 'perfection'. While contemporary digital image processing techniques such as the autoretouch function enables digital cameras to alter your image in real-time.
The camera 'Artificial Smile' plays with the notion of perfection and autoretouch – it shows only smiling people's picture to be taken, irrespective of their former emotional state. To achieve this camera takes a picture but overlays it with a smiling mouth drawn from a preexisting pool of pictures with smiling faces.]]></concept_en>
                <url>http://digital.udk-berlin.de/idd-meets-digitale-klasse</url>
            </artist>
            <artist id="3">
                <photo>./images/artists/udk/memyselfandi.jpg</photo>
                <name_en>Martin Kim Luge</name_en>
                <title>me myself and I</title>
                <type>narrative photography</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[ The »Me myself and I« portraits consists of face segments, which demonstrate what the person really likes or dislikes about their own perception.
Volunteers were invited to attend a self-portrait-gallery. Every model can take photos by himself as often as he or she likes and decides which picture is the best. But in the moment of watching and controlling the picture, an eye-tracking camera detects which fields of the photography were scanned by the person's eyes. Automatically, sharp and unsharp fields are going to be generated in a new self-portrait, that demonstrate the importance of several face segments. The time spent and the number of pictures taken affect the new self-portrait. Thus, by investing more time in watching the pictures, one can create an almost complete self-portrait.]]></concept_en>
                <url>http://www.martinluge.de </url>
            </artist>
            <artist id="4">
                <photo>./images/artists/udk/mutablepostcards.jpg</photo>
                <name_en>Stefan Hoderath / Tim Horntrich</name_en>
                <title>Mutable postcards</title>
                <type>interactive web application</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[In these days there are millions of pictures already taken. Mutable postcards takes advantage of this picture pool and rethinks the classic picture postcard. While the user holds a mutable postcard equipped with a simple pattern in front of a webcam the connected mutable postcards webapplication reveals the full information. Using recent augmented reality technology a picture of the connected landmark gets mapped on the postcard and is shown on the two-dimensional surface of the mutable postcard in three-dimensional space. The images used are randomly taken from flickr to get multiple viewpoints and pictures from varying points in time.]]></concept_en>
                <url>http://mutable.digital.udk-berlin.de/</url>
            </artist>
            <artist id="5">
                <photo>./images/artists/udk/timescanphotographs.jpg</photo>
                <name_en>Stefan Hoderath</name_en>
                <title>Timescan Photographs</title>
                <type>photography</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[Timescan photographs expand the bounds of the moment-based medium photography to let it become a time-based medium. By using a technique similar to the principle of the focal plane shutter the four dimensions of space and time get depicted in two dimensions of a photograph. While taking a timescan photograph the frame gets exposed column by column from left to right. The resulting image formed through the continuous floating movement of the slit is a photographic diagramm of time. Any moving object in front of the camera will be displayed visually warped and distorted according to its space-time position. Static objects will be pictured in a classical snapshot way.
The timescan photographs are taken with a self-built digital scanner camera.]]></concept_en>
                <url>http://www.hoederath.de</url>
            </artist>
            <artist id="6">
                <photo>./images/artists/udk/monitorphotographie.jpg</photo>
                <name_en>Sandra Dick / Lukas Hartmann</name_en>
                <title>Monitorphotographie</title>
                <type>photography, video, software</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[Monitorphotography is a process that adapts the analogue principle of  making a photogram to the computer and the screen. A classical photogram is made by placing objects directly on  photosensitive paper and then exposing them briefly to light.  Depending on the transparency of the objects, a photographic image of the shapes of the objects is the result. The  screen is first turned off by custom software. A  sheet of photosensitive paper is then placed on the computer’s screen,  and the screen is turned on briefly exposing the photosensitive paper, just  like in a ususal blow-up process. After developing the paper, a  “screenshot” of the actually displayed content of the screen can be seen on the photograph. ]]></concept_en>
                <url>http://digital.udk-berlin.de/hauptstudium/monitorphotographie</url>
            </artist>
            <artist id="7">
                <photo>./images/artists/udk/bionymize.jpg</photo>
                <name_en>Constantin Engelmann / Taner Aydin / Bengt Rosenberger</name_en>
                <title>Bionymize</title>
                <type>software, publication</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[Modern biometrical systems allow automated person recognition using the facial features of an individual.
The work focuses on this matter and makes facial images anonymous regarding their biometrical features. Geometric distances of a source image are placed on a target image which is to be manipulated. 
One could use anonymized passport photographs for an id application, which would not be recognized as incorrect by a public executive dealing with the application, but which would later be considered different to the actual person by a recognition system. The stored biometrical data on the chip of the electronic passports becomes useless due to this anonymization process. 
The same techniques used in face recognition are alienated here to show the inadequateness of the general use in public society.]]></concept_en>
                <url>http://digital.udk-berlin.de/grundstudium/bionymize </url>
            </artist>
            <artist id="8">
                <photo>./images/artists/udk/boxed.jpg</photo>
                <name_en>Florian Kuhnle</name_en>
                <title>BOXED</title>
                <type>objects</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA[BOXED is a computer application that allows a person to make a gift wrap in the shape of the gift.
This blatantly gives away the content of the wrap and thus plays with its usual moment-of-surprise. But the shaped wrap also has a lot of features that every gift-wrap would gratefully call its own: its shape can be designed uniquely and with great care for every gift. It can be given a shape more close or more loosely connected to the actual gift's shape. It can be made of different sorts of cardboard in various colors, or with writing on it. It is easy and quick to produce and doesn't cost much.
The wrap is created i an interactive process with the user, where two photos are uploaded into the program and are subsequently turned into a flat folding scheme which then can be cut out. ]]></concept_en>
                <url>---</url>
            </artist>
            <artist id="9">
                <photo>./images/artists/udk/ranke.jpg</photo>
                <name_en>Korbinian Polk / Sebastian Schmieg / Frederic Gmeiner</name_en>
                <title>Ranke</title>
                <type>generative furniture</type>
                <concept_jp><![CDATA[]]></concept_jp>
                <concept_en><![CDATA["Ranke" ("tendril") is a generatively created bookshelf, which adapts to the setting of a room. It reuses the existent cardboard wrapping in which books come if ordered online. The bookshelf is composed of two components: A wall mounted carrier runner with lamellas and customised single slipcases to hold the books. The shape of the shelf is adapted to each room's individual setting by using a path-trace algorithm. Another application generates the blueprints of the cardboard slipcases, which are adjusted to the size of the books. These slipcases are created out of the existent book wrapping as used for shipping. Thus a tool kit is provided, facilitating the creation of individualized bookshelves using a laser cutter or a digital milling machine.]]></concept_en>
                <url>http://ranke.fregment.com/</url>
            </artist>
        </udk>
    </artist_list>
</data>