From the outset, the Bauhaus aimed to transcend the opposition between high, pure art and supposedly low applied craft in the name of a “new building of the future that would unite every discipline, architecture and sculpture and painting.” At the same time, it combined the plea for a synthesis of art and technology and the move towards industrial mass production with the ambition to design architecture and objects for everyone. What has become of this aim? In 2018, its fifth year, the Digital Bauhaus Summit takes up the old distinction between high and low. Although the idea of ​​a hierarchical difference in value between high and low seems to be a dated concept at least since the advent of the artistic avant-gardes, and killed for good by mass-media-fueled pop culture, the distinction between high and low persists, even if subconsciously, and their interplay opens up new perspectives, e.g. in the field of high-tech and low-tech or in debates about democratization and participation in politics, urban planning and design. Which emerging dynamics and hybridizations between high and low can be observed? What would a "new unity of art and technology" look like in today's post-digital society? High and low are intended to be brought into play here as heuristic search terms. Who is up? What is below? And above all, where is the front?

This Year's Speakers: