SPUR

About searching and finding, the unintentional and the staged, controlling and letting go.

The German word ›Spur‹ (trace), Latin ›vestigium‹, derives from the Old High German ›spor‹ and originally meant ›footprint‹. Before ›Spüren‹ (to sense) took on the meaning of ‚feeling‘ and ’noticing‘, it meant to pick up a trace.

The trace is unintentional, even unmotivated. It is the by-product of a purposeful action, attributed more to the process than to the bearer. And it stands alone. In the absence of its originator. »The trace never makes the absent present, but rather its non-presence; traces do not show the absent, but rather its absence,« says Sybille Krämer (1) in her reflections on reading traces as a technique of orientation. As a transitional phenomenon, the trace builds a bridge between past and present. It is present, but represents something else. There are two temporal regimes for the trace, that of emergence and that of reading. Without reading traces there is no knowledge. Intuition and sensitivity are as close to it as questions of experience, routine and interpretation.

In SPUR, we followed traces in the truest sense of the word. We found and read traces. Traces of our own stories. Traces of other people’s stories. Traces of processes – our own, other people’s. Traces of people, animals, machines.

(1)
Krämer, S. (2007). Was also ist eine Spur? Und worin besteht ihre epitemische Rolle? Eine Bestandsaufnahme. In Spur. Spurenlesen als Orientierungstechnik und Wissenskunst. (1. Aufl., S. 11–33). Suhrkamp Verlag. 

The course included a 3-day workshop ↗ with designer Babette Wiezorek ↗. Experiments with ceramic 3D printing were used to explore the interplay between material and digital control, in short, the aesthetic qualities of the process and its traces.


Supervision Prof. Judith Glaser
Winter Term 2023/24

© Lilli Pfundt + Luisa Thomsen + Paul SchulzPULPi

Lilli Pfundt, Luisa Thomsen, Paul Schulz 

Our faculty produces large quantities of paper waste every day. Our project aims to encourage students to separate their waste. In this way we can create a new material from the waste product paper, which is combined with water and wood shavings. We testet many different material compositions. The result is a plastic, malleable, completely natural and recyclable material. It is pressed into a 3D-printed mould and achieves high strength after drying.  

The Product is a series of four practical storage containers for organising everyday and office items. The design is based on the properties of the material and meets the requirements of stability, modularity, ergonomics and aesthetics.
The containers are ment to be used in the everyday life of the faculty where the components are originally produced. PULPi is made by the faculty, for the faculty.
© Lilli Pfundt + Luisa Thomsen + Paul Schulz© Lilli Pfundt + Luisa Thomsen + Paul Schulz
© Lilli Pfundt + Luisa Thomsen + Paul Schulz© Lilli Pfundt + Luisa Thomsen + Paul Schulz


© Elias Hansbauer

leaf INITIATIVE

Elias Hansbauer 

In my project, I focussed on how to make clothing more durable. From this, the fictitious leaf INITIATIVE (longliving, ethical and attractive fashion) was founded. By embroidering the message directly onto the clothing, the topic also becomes a medium. A poster series with the 3 designs was created as well as a website where you can find out more.

© Elias Hansbauer


© Selina Herrmann + Lilli Kollmann

[st]erben

Selina Herrmann, Lilli Kollmann 

Our initiative [st]erben focuses on destigmatizing the topics of dying and death, actively integrating them into everyday life in order to generate broad social awareness. Through posters and tear-off cards, we aim to encourage not only you but also your relatives and friends to comprehensively inform themselves and to have open conversations about these topics. The posters and cards link to our website, where you can sign up for our free newsletter. This makes it possible to come into contact with the topic on an irregular basis, to stay informed and to deepen one’s own thoughts.

The emergency folder is another measure to ensure that relatives can easily understand your wishes and find relevant information in an emergency.
This approach goes beyond leaving memories; it provides clear instructions that can make decisions easier for your loved ones. Our aim is to create a supportive community in which dying and death are no longer considered as taboo, but are accepted as an integral part of life.
© Selina Herrmann + Lilli Kollmann© Selina Herrmann + Lilli Kollmann
© Selina Herrmann + Lilli Kollmann© Selina Herrmann + Lilli Kollmann


© Theresa Helmschrott

The devil has no interest in us

Theresa Helmschrott 

Almost every human civilisation has a concept of demonising women. They were portrayed as threatening, as witches who had made a pact with the devil and who, driven by insatiable sexual desires, brought misfortune upon their fellow men. This phenomenon was characterised by persecution, exclusion and structural mass murder.

In this work I photographically explore how the demonisation of women has changed over time and how the term ›witch‹ has changed its meaning from a death sentence to a term of spiritual self-determination. My photographs interact with quotes from women who have explored the subject as authors, scholars and victims of discrimination.
© Theresa Helmschrott© Theresa Helmschrott
© Theresa Helmschrott© Theresa Helmschrott


© Carla Endres

Das Patina Spiel

Carla Endres

What do we think about signs of use, signs of age – patina? We celebrate the used look, but we want to get rid of other traces. Where exactly do we draw the line and what do we actually know about patina and our own position on it?

The Patina Game is a kind of hybrid game consisting of three different mini-games that provide information about the topic in a playful way. There is a classic quiz with questions on various aspects of patina. The game also includes a kind of memory game or ›find pairs‹ with various possible combinations on a textual and photographic level. The third mini-game is a kind of either/or game called ›Patina or Patina‹ in which two different terms are always juxtaposed.
© Carla Endres© Carla Endres
© Carla Endres© Carla Endres


© Christian Lingstädt

67 Tage

Christian Lingstädt

67 Days is the processing and study of a found war document. These are the records of the 8th Company of the 282nd Infantry Regiment, which invaded France during the Second World War. The work deals with six different periods of the attack. In each case, the content of the events, the data recorded and additionally calculated, as well as the chronological classification are illustrated. Each route chapter ends with a personal note or a supplementary topic. In addition to processing and visualising the content of the approximately 1500 km long march, the conclusion deals with the example of the enormous physical and psychological strain on the population and the soldiers during a war. The topic of trauma and its significance for future generations is as relevant today as the experience of war.
© Christian Lingstädt© Christian Lingstädt
© Christian Lingstädt© Christian Lingstädt


© Meike Haun

somno

Meike Haun

somno focuses on innovative sleep and mood tracking. The associated app records and analyzes your data. Based on this data, somno gives you individually tailored nutritional supplements in your water for your perfect start to the day. The basic set consists of magnesium, vitamin d, vitamin k, vitamin b complex, omega-3, probiotics, coenzyme q10 and maca.
© Meike Haun© Meike Haun
© Meike Haun© Meike Haun


© Julia Grassmann

Permutation of Eden

Julia Grassmann

The Permutation of Eden explores the subtle balance between the physical and the digital, creating a symbiosis, an alternative dimension, in which the tangible merges seamlessly with the intangible. Within this synthesis, a spectrum emerges, a space in which the natural and the man-made intermingle with varying degrees of intensity, a space of possibilities, of permutations. I am exploring this space as part of my project. With the help of digital methods, the real is increasingly transferred into this in-between space, resulting in impressions on the edge of the comprehensible.
© Julia Grassmann© Julia Grassmann

Design for Digital Life and Knowledge Practice
Prof. Judith Glaser ↗

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