Work in Progress
Master Jahrgang 2017/2018
We live in a society in which the failure to understand complex relationships seems to find its way out in affects. Fear, enthusiasm, empathy. In echo chambers and the mutual reinforcement of opinions, in swarm-like movements within information networks, in references and links, in the Like and in the article headers in our News Feed, we act with affect. Joy, despair, anger. Is the world too big, to just think it? Contrary to Descartes‘ „cogito ergo sum“, we can assume that knowledge is based not only on cognitive processes, but also on our emotions. I feel therefore I am. Disgust, interest, shame.
Is the strong turn to the affects a result of an performance society which potentially suppresses affects What kind of attention should be paid to these affects? Should they be exposed, undermined, made use of? The ability to be affected and to affect others requires openness, needs movement and encounter. What are the consequences of mood, feeling, and emotion? Participation, impasse, corruption? Which personal emotional situations are triggered by prevalent structures? How do they motivate the designer? Unpleasant feelings can be opportunity spaces in which allies find each other.
How does design act upon this? Sensuality, attraction, and provocation are aesthetically mediated — via points of contact, friction, or reaction.
Their formability through surface, construction, materiality, and interaction requires the sensitivity of designers. In the coming Master programme, we want to go further and examine the inclusion of the affects in design, also with regard to their objectives, possibilities, and dangers.
In this one-year programme, rationality and emotion shall be considered in their interplay with design, personal feelings shall be examined with regards to their potential to produce radical changes, and the economy of attention is to be investigated in its relation to complex processes. A forum will be offered, for the experimental, conceptual, technical, and design development of objects, collections, products, processes, and scenarios. The Master thesis is developed in experimental studies and through various prototype stages, and is reflected both methodologically and theoretically. Observations and experiences in aesthetics, society, philosophy, technology, and economy offer orientation for the personal master project. In the submitted Master Proposal, the applicant’s self-understanding is to be made visible, and questions relevant to the applicant’s personal design practice, and the discourse around the concept of the affect, shall