Within the Institute of Production of the University of Applied Science Cologne, TH Köln, the logistics IT group has initiated a new project for the 3D Virtual Reality digitization of logistics and manufacturing processes. The 3D Virtual Reality Serious Games learning environment is in accordance with the real physical model factory at the institute, where students of business engineering classes study and exercise the interdisciplinary processes of a whole manufacturing unit. On the basis of this project initiation within the institute of production we want to build and offer a widespread open-source standard framework for programming 3D VR Serious Games for Production & Logistics that can be used by other universities and industrial partners. A sneak preview of the game can be viewed in.

Cette thèse explore le concept de consumer childlikeness, lequel n’a pas d’équivalent en français. Consumer childlikeness renvoie ici à une orientation enfantine du consommateur adulte. Il s’agit d’un état d’esprit et d’un comportement que la société associe généralement à ceux de l’enfant. L’exploration de ce concept s’appuie sur une approche interprétativiste que j’appelle réaliste, présentée dans l’essai I. Les trois autres essais de cette thèse, dédiés au concept de consumer childlikeness, offrent un exemple de recherche interprétativiste réaliste. Le concept de consumer childlikeness est exploré à un niveau micro en adoptant des perspectives évolutionniste (essai II) et existentielle (essai III). Pour terminer, le concept est étudié au niveau macro à partir d’une perspective postmoderne et psycho-analytique (essai IV) / This thesis explores consumer childlikeness by taking a realist interpretivist approach. The three other essays of this thesis, dedicated to consumer childlikeness, offer an example of realist interpretivist research. Consumer childlikeness is explored at a micro level by adopting evolutionary (essay II) and existential perspectives (essay III). It is finally explored at a macro level within a postmodern and psychoanalytical framework (essay IV)

Still life arise from interactions related to a particular situation, location and experience. They are composed of objects that are located on a given place, of my own and borrowed or donated by my "partners". Reflect the time memory. They are a physical reminder of the experience. Still Life is manipulated, staged, composed of various artifacts that are symbolic bearer of facts that preceded them, Images may affect the perception of emotions associated with the concept of beauty, transience, decay, evoking a feeling of emptiness, to reflect the time - an irreversible momentum. Photos show a banal, everyday objects, often so obvious and neglected, What remains for us ... What remains ... What goes around ... What is gone ... Similar scenarios acquire different meanings, finding what is already absent,

This thesis examines strategies of anticipation in contemporary post-cinematic art. In the Introduction and the first chapter, I make the case for anticipation as a cultural technique for the construction of and adjustment to future scenarios. This framing allows analysis of constructions of futures as culturally and media-historically specific operations. Via anticipation, constructions of futures become addressable as embedded in specific performative and material economies: as regimes of prediction. The hypothesis is that cultural techniques of anticipation do not only serve to construct particular future scenarios, but also futurity, the very condition for the construction of futures. Drawing upon the philosophical works of, in particular, Vilem Flusser, Jacques Derrida and Elena Esposito, and the theory of cultural techniques, I conceptualize anticipation through the analysis of post-cinematic strategies. I argue that post-cinematic art is particularly apt for the conceptualization of anticipation. The self-reflexive multi-media interventions of post-cinematic art can expose the realisms that govern regimes of prediction. Three cultural techniques of anticipation and their use as artistic strategies in post-cinematic art are theorized: enactment, soft montage and rendering. Each of these techniques is examined in its construction of futures through performative and material operations in art gallery spaces. The second chapter examines strategies of enactment in post-cinematic installations by Neïl Beloufa. My readings of Kempinski (2007), The Analyst, the Researcher, the Screenwriter, the CGI tech and the Lawyer (2011), World Domination (2012) and Data for Desire (2014) propose that enactment allows for an engagement with futures beyond extrapolation. With Karen Barad's theory of agential realism, the construction of futures becomes graspable as a political process in opposition to a mere prolonging of the present into the future. The third chapter focuses on the strategy of soft montage in works by Harun Farocki. I interpret Farocki's application of soft montage in the exhibition Serious Games I-IV (2009-2010) as a critical engagement with anticipatory forms of organizing power and distributing precarity. His work series Parallel I-IV (2012-2014) is then analyzed as a speculation on the future of image production technologies and their role in constructing futures. The final chapter analyses the self-referential use of computer-generated renderings in works by Hito Steyerl. The installations How Not To Be Seen (2013), Liquidity Inc. (2014), The Tower (2015) and ExtraSpaceCraft (2016) are read as interventions in the performative economies of contemporary image production. I argue that these works allow us to grasp the reality-producing and futurity-producing effects of rendering as anticipatory cultural technique. My thesis aims to contribute to the discussions on a 'turn towards the future' in contemporary philosophy and cultural criticism. My research thus focuses on the following set of questions. What can we learn about the operations of future construction through encounters with post-cinematic art? How are futures and future construction framed in such art? What realisms do future constructions rely on? And how can anticipation as a cultural technique be politicized and democratized?