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Sense Interference
 by Robin Deirkauf
The relationships between sense modalities are studied through simple cross-modal exercises, resulting in greater awareness of the connectedness of different sense organs in perception and a better understanding of the ways these connections may find an expression in art.

Credits: 3 EC
Objective: learning to cross-map sensory experiences
Literature: Diane Ackerman, A Natural History of the Senses, Random House, 1990
Competencies: A1, A2, A3, A5, A6
Location: KABK PB.301
Number of Classes: 6 classes of 8 hours each
Examination: small assignments, attendance


Mind Mapping
 by Klaus Baumgärtner and Mateusz Herczka
How can we record initial ideas? Sometimes using words can do this. But the use of pictorial methods has a special place in the creative process. How can one discover one’s own favorite sketching method to catch the thought processes in a material representation that may form the basis of a communication process?
Credits: 3 EC
Objective: learning to present ideas in a material form
Literature: Tony Buzan, The Mind Map Book, Penguin, New Uork, 1991
Competencies: B1, B2, B3, B4, B5, B6
Location: KABK PB.301
Number of Classes: 6 classes of 8 hours each
Examination: small assignments, attendance


Ear Cleaning
 by Horst Rickels and Edwin van der Heide
As with all sensory processes, what we actually hear is highly dependent on what we have learned to hear. We only can distinguish sensory characteristics when we have learned to label them, but sometimes these labels can prevent us from hearing new things. This is the time for ear cleaning.

Credits: 3 EC
Objective: ear training aiming at new approaches to hearing
Literature: Jaques Attali, Noise, The Political Economy of Music, University of Minnesota Press, 1985; R. Murray Schaeffer, The Tuning of the World, Shambala, 2000; Douglas Kahn, Noise, Water, Meat, A History of Sound in the Arts, The MIT Press, Cambridge, Massachussetts, 1999
Competencies: A2, A3, A5, A6, B1, B2, B3, B5, B6
Location: KC CAM.30
Number of Classes: 6 classes of 8hours each
Examination: small assignments, attendance


Interaction Models in Sound and Space
 by Edwin van der Heide and Joel Ryan
The aim of the course is to develop and judge interactive sound environments. To what extent are common words in music like style, skill, form and development applicable to interactive installations? Can we compare playing an instrument to interacting with an installation?

Credits: 3 EC
Objective: developing aesthetic criteria for interactive installations
Literature: Dick Raaijmakers, A Brief Morphology of Electric Sound, Orpheus Instituut, Gent, 2000
Competencies: A1, A2, A6, B2, C2
Location: KC CAM.30
Number of Classes: 6 classes of 8 hours each
Examination: small assignments, attendance


Freestyle Video
 by Kasper van der Horst
Students are challenged to develop live video editing on the basis of an improvisational approach. Special attention is given to new ways of spatial projection. For this students are invited to develop new instruments in which image and sound are directly connected.

Credits: 3 EC
Objective: learning to produce live video in a professional environment
Location: KABK BB.202, 203, 206, 211, 212 and KC CAM.10
Number of Classes: 6 classes of 8hours each
Examination: live presentation, attendance


Image and Sound
 by Kasper van der Horst and Robert Pravda
Using digital technology it is possible to instantly compose live visual imagery in relation to the real-time generation of electronic sounds and music, as evident when DJ’s and VJ’s combine their sets. But what happens when sound artists and visual musicians start collaborating?

Credits: 3 EC
Objective: learning to produce live moving images in relation to live sound production
Competencies: A1, A3, A4, A5, A6, A7, B1, B2, B3, B4, B5, B6
Location: KABK BB.202, 203, 206, 211, 212 and KC CAM.10
Number of Classes: 6 classes of 8 hours each
Examination: small assignments, attendance


Robotics
 by Joost Rekveld and Robin Deirkauf
This class is an introduction to robotics. It focuses on two perspectives regarding the actions of robots. The first perspective is that of the design ‘efficiency’ of the interior control structure. The question is raised of how to design robots as simple as possible for an intended purpose. This usually means that a problem should be decomposed into almost independent processes. How to use the idea of some kind of efficiency to get to interesting essentials? The second perspective is that of the human viewer and the interpretation of robot behavior. Does seeing one body automatically create the illusion of one mind and one ‘will’, which together drive behavior? What is the minimal robot behavior that can be read as expressive? Can a robot be schizophrenic? Apart from a theoretical introduction, this module focuses on making robots and on writing a simple program for a programmable robot.

Credits: 3 EC Objective: introductory exploration of the field of robotics
Competencies: A1, A2, A3, A4, A5, A6, A7, C1, C2, C3, C4, C5, C6, C7
Location: KC CAM.10, CAM.30, KABK BB.201 (LabLand)
Number of Classes: 6 classes of 8 hours each
Examination: small assignments, attendance


MetaMedia
 by Taco Stolk and Kasper van der Horst
In the process of creating art the choice of medium is itself already an artistic statement. To help students make conscious choices a theoretical framework is offered in which aspects of cultural philosophy, conceptual art and the possibilities of the new media are presented and discussed.

Credits: 3 EC
Objective: learning to make conscious choices of the artistic medium
Literature: Arjen Mulder, Understanding Media Theory, Language, Image, Sound, Behaviour, NAI Publishers, Rotterdam, 2004
Competencies: A1, A2, A3, A4, A5, A6, A7, B1, B2, B3, B4, B5, B6, B7, C1, C2, C3, C4, C5, C6, C7.
Location: KABK PB.301
Number of Classes: 6 classes of 8 hours each
Examination: small assignments, attendance


Thought Processes in Art
 by Michael van Hoogenhuyze Can art be considered as an alternative way of thinking in which verbal and mathematical thinking are paralleled by forms of imagination—visualization and audition—which communicate a type of information by directly speaking to the eye or the ear?

Credits: 3 EC
Objective: learning the basic of audiovisual literacy
Competencies: C1, C2, C3, C4, C5, C6, C7
Location: KC CAM.30
Number of Classes: 6 classes of 8 hours each
Examination: small assignments, attendance


Performance and Electric Music Theater
 by Paul Koek, Horst Rickels and Martijn Padding Music and theater share their common origin as a human response to natural phenomena, such as the sounds and movements of animals, thunder, lightning, etc. In this course students are asked to create small music theater scenes, first to be executed on the tabletop and then to perform them on stage and in architectonic spaces.

Credits: 3 EC
Objective: learning to use the human body as a means of expression
Literature: Roselee Goldberg, Performance Art, from Futurism to the Present,
Thames and Hudson, London, 1988
Competencies: A1, A2, A3, A4, A5, A6, A7, B1, B2, B3, B4 B5, B6, B7
Location: Scheltema, Marktsteeg 1, Leiden
Number of Classes: 16 classes of 3 hours
Examination: small assignments, attendance