New release: Ephemer.

new release


With contributions from: Barry Bermange, Gabriele Brandstetter, Danica Darkic, Martina Dobbe, Martin Dornberg, Hinderk M. Emmrich, Daniel Fetzner, Yael Kaduri, Annette Le Fort, Angela Melitopoulos, Petra Maria Meyer, Hannelore Paflik-Huber, Jürgen Partenheimer, Felix Schackert, Claus-Arthur Scheier, Michael Schirner, Georg Christoph Tholen, Hagen Verleger, Michael Wetzel, Martin Zenck.

Editor: Petra Maria Meyer
Wilhelm Fink Verlag
ISBN: 978-3-7705-5755-4

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10.08.2020 • , (...)
24. August 2020 ·

Multimedial Photography / Technical Imagery

Before moving on to the focal point of photography, in other words, where the teaching in Kiel differs from that of other universities, it should be underlined that it is based on the tradition of the medium. In the first few terms, the students get to know analogue techniques. These include the use of cameras, mainly those whose performance cannot yet be replaced by digital technology, but also work in monochrome and colour laboratories. The technical exercises are linked to work in scenic and narrative photography. During these exercises students start from the premise of the visible reality in front of the camera, as has been natural and inevitable in photography for more than 150 years. History draws our attention to the use of the medium in our time and makes us aware of excellent individual performances. On the basis of digital technology, photography is growing together with other media. Using photogrpahic apparatus we can now – to name one example – produce video films. On top of this comes the programmes not integrated into the camera for which we need computers and the computer capacity. Photographs can be easily altered. One can combine them or create effects previously only known to painting and graphic art. Photographic information can already be calculated in the third dimension and in this way the virtual bodies created can be produced as sculptures. Obviously the medium has become part of an expanding media complex. At this point, we introduce the term Techical Imagery. It comprises all images which are possible in the context of apparatus and programmes, thus also photogrpahy. Technical Imagery is no longer anchored in the physical world, as is analogue photography. It can use it but offers access to virtuality, to simulation and animation. At the Muthesius, we try to critically accompany the development of technical imagery and in its consequences, to understand and form it. This is what we would like to designate as the focal point of teaching. Following the medial expansion, we offer teaching in Photoshop, Final Cut and Cinema 4D, make digital labs available, work with a 3D scanner and a CAD-controlled output device. As always, we encourage interest in still images but now also interest in film sequences and sound and text. We also support projects which deal with virtual reality and the phenomena which become possible because these worlds are permeable and can merge into each other. The choice of themes is the students’. They research themsleves and their relation to the world and give their works expression.


Prof. Peter Hendricks
T 0431 / 5198 – 435, E