In this workshop, we will collaboratively work on a typeface using a limited set of tools and no computers at all. Glyph selection will be done within smaller groups at the end of day one, the second day will involve preparing the silk screens at the workshop and printing the type specimens, which will consist of 36 glyphs on 4 posters printed in 3 colours each. And 260 optional additional specimens when screens are swapped randomly ;)

In this two day workshop we will design posters (billboards) that promote human values in times of war and political extremism, when there seems to be a great lack of them. We will design posters that remind us that we are human and that we should act human in order to remain human. The workshop is aimed at students interested in graphic design, lettering and illustration.

Fashion design is always political. While the designing of processes and products is implicitly political, explicit use of fashion for protest has been made for centuries. Vestimentary symbols have been used – on the body or independently – to express political beliefs and protest all over the world. Today. in our hypervisual and mediatized world, fashion – as the most visible forms of consumption – plays a key role in activism. This critical practice workshops explores how dress has been and can be employed as visualised resistance. We consider what agency you hold as designers, we all hold as wearers and, what agency is inherent in dress.

We all have the gift of sight. Seeing comes before speaking. Yet, what we see is shaped by what we know, believe, and experience. This workshop is designed to analyze how our understanding of visual information can vary and how a single image can hold multiple interpretations. Participants will look at examples of manipulative imagery, explore the stages of creating propaganda, and analyze how the same visual narratives are perceived and interpreted across different countries. The workshop will be useful both for professional photographers and people who are simply interested in learning how to read visual codes.

In this interdisciplinary workshop, students will explore the power of posters as a medium for free speech and personal expression. The session will briefly cover the history of political posters, offering context for how they have been used throughout time to convey messages and provoke change. Students will then focus on specific themes to design and create digital posters ( analogue also possible) that reflect their beliefs and perspectives. These works will be considered for inclusion in an upcoming exhibit at the Judith Center in Los Angeles. Through this hands-on experience, participants will gain a deeper understanding of how visual art can communicate and amplify social, political, and personal messages.

This seminar presents spiritual practices as sophisticated systems of knowledge transmission, revealing how ritual and ceremony function as mediators of consciousness across varied cultural contexts. We consider indigenous conceptualizations of technology—not as discrete tools but as integrated extensions of cultural and spiritual systems. The session dismantles Western separations between function and spirituality, material and immaterial, while uncovering how ritual practices encode complex knowledge. It maps connections between ancient cosmologies and current digital network structures, showing how relational worldviews can reshape our conception of interconnected technological systems. We examine conceptions of time, space, and interrelationship that subvert linear, progressive models of technological evolution. The focus includes futurisms that reconstruct possibilities outside colonial frameworks. Critical assessment of traditional wisdom alongside contemporary digital practices yields new ethical frameworks centered on reciprocity and multi-generational responsibility. These approaches to technological engagement, understood as technicities, provide alternative views to mainstream technological discourse, inspiring integrative approaches to technological advancement.

In this workshop, we will do a series of individual and collective writing exercises and experiment with the (typo)graphic presentation of our texts. We’ll also listen to, look at, and discuss writing by experimental poets of the last fifty years and the printed ephemera of counter-cultural publishers. No writing experience is necessary.

The last quarter of the 20th century saw a transition from analog to digital media. The first quarter of the 21st century is experiencing a transition from procedural programming to neural networks and other ai-based computational strategies. In this workshop we’ll break into teams to explore some aspects of temporality using analog, digital, and ai-based media; and then, as a group, discuss the experience, as well as cultural and economic implications of using ai. Participants are encouraged to bring analog media to play with (paper, ink, brushes, clay, tape recorders etc.), as well as digital media: such as laptops and/or cell phones. Subscriptions to ai programs such as ChatGPT, DALL-E, and/or Adobe Firefly are encouraged for the workshop, but personal subscriptions will not be provided by the workshop itself.

This workshop invites participants to engage in a collective improvisation experience, transforming discarded items into sound instruments. Inspired by Sin's sound performance 'trashes' and her spontaneous group improvisation '10 Minutes', this session will redefine everyday waste as a holder of condensed time and fragmented meaning. Each object carries social, economic, cultural contexts while intertwining personal memories with shared histories. Using small motors, the workshop participants animate these once-disposable items, challenging notions of disposability and urging a reconsideration of what we choose to discard—objects, people, or ideas.

My first experiment with digital cameras was during my apprenticeship. My bosses got their first digital camera - a 3-shot digital back with a filter wheel. So we could only shoot still life (R-G-B channels were recorded separately and then merged into one single colour image). I took the lens and filter wheel out of the camera and replaced it with a pinhole cardboard and we shot a black and white pinhole calendar with it.

We still mainly shot on film, 120 roll transparencies and we had our own processing machine (E-6). I learned that if I would overexpose my negative films bei 2 f-stops and turn the temperature of the process up a notch I could process my negative rolls in kind of a cross-process using the E-6 machine. I took pictures of shop windows at night (the only time I could shoot at that point and shopping windows were a good light source), cross processed the film, scanned the negatives, blew them up and printed on film (overhead projector slides) in tiles of 9. I later mounted those on metal sheets, finished them with shell lac and sold one of them.

With my own cameras I experiment with:

• Super tele lens using a lens away from the camera, ‘building’ the tele with black wrap or other material

• Distorting images using perspex cubes, filters, negatives and other material

• Working with light into the camera using the above or directly into the lens (I'll bring camera to show and use)

• Using a bellow camera with the digital camera as a back, using without bellow, using lights, movement, ….