You need to be on the ball and god forbid you have gaps in your CV! In many professions, the idea of what a successful career should look like is becoming increasingly more specific, almost ‘scripted’. And yet, to what extent should we let idealised and deceptive ‘career scripts’ impact our professional development? Can’t we just rewrite these scripts? What role do mechanization and digitalization play in current career plans? Do they allow for more individual room for manoeuvre? Visiting the DIGITAL SPRING FESTIVAL, you are encouraged to draft the CV which is considered to be ideal in your profession. You should then compare it to your idea of a desirable professional life.
Judith Igelsböck is a postdoctoral researcher at the Munich Center for Technology in Society (MCTS) at the TU Munich as well as the project manager for ‘Drehbücher der Innovation’ (scripts of innovation) at the Linz Institute of Technology (LIT). The project is concerned with the empirical study of isomorphic tendencies in the organisation of innovative activities as well as the possibilities for artistic intervention. Judith has worked in a number of social science research fields. She is currently pursuing her passion for artistic research primarily by experimenting with the connections between theater and innovation research.
Klaus Erika Dietl is a visual artist with a background in literature and filmmaking. Since 2012 he has been part of OK DECAY, a performance group that examines and celebrates sonic frictions. Klaus Erika Dietl studied painting and art theory at the Academy of Fine Arts (AdBK) in Munich. Together with his fellow artist Stephanie Müller he initiated MEDIENDIENST LEISTUNGSHÖLLE in 2009. Since then it has evolved from a vibrant underground studio to a nucleus for international art exchanges. Dietl’s main research interest is the memory of the unsaid. In his paintings, sound installations and film projects he focuses on the lacks of understanding. What makes us take off the blinkers and question our insecurities and reservations?
Stephanie Müller is an artist and sociological researcher with a fierce love for collaboration and improvisation. In Munich she is based at the MEDIENDIENST LEISTUNGSHÖLLE in the midst of a buzzing collective of artists and activists. Together they develop performances, sound installations and film projects. Still studying she launched her mixed media art project rag*treasure. Stephanie has been playing the Singer, an amplified sewing machine, since 2004. Together with Laura Melis Theis, an Oxford based songwriter with a background in theater and literature, she initiated beißpony. In October 2013 their debut album was released on Chicks On Speed Records followed by music compositions for a collaboration with Wolfgang Müller (DIE TÖDLICHE DORIS) and a radio play (Licht im Kasten) written by Elfriede Jelinek.