Aktuell erreicht das Projekt eine entscheidende Phase: 
Aus ersten Ideen und Pretotypes werden konkrete, belastbare Prototypen. 

Damit wird sichtbar:

• wie datenbasierte Lösungen im Tourismus tatsächlich aussehen können
• wo sie echten Mehrwert schaffen
• und was es braucht, damit sie in der Praxis funktionieren

Konkrete Umsetzung: Mobility Hub Prototyp

Wir als Deutsche Institut für Gutes Leben (difgl) arbeitet im Projekt nicht nur konzeptionell, sondern bauen gemeinsam mit 
Tourismus-Marketing Brandenburg, Gut Boltenhof und Fraunhofer FIT einen Prototypen für den DIANA T – Mobility Hub. 

Ziel ist es, Mobilitätsangebote vor Ort datenbasiert zu verknüpfen und damit de verkehrstechnische Anbindung vor Ort konkret zu verbessern.

Praxis als Maßstab

Die aktuellen Entwicklungen zeigen deutlich: 
Technologie entfaltet ihren Mehrwert erst dann, wenn sie in konkreten Anwendungen erprobt wird. 

Einblick in die Ergebnisse

Weitere Informationen und Einblicke in die Projektergebnisse finden sich unter: 
👉 www.diana-t.de (Bereich „Publikationen“) 

Dank an das Konsortium

Ein besonderer Dank gilt allen Partner*innen im Projekt DIANA-T für die enge Zusammenarbeit.

Im Workshop „KI im Handwerk – Was hat das mit mir zu tun?“, zu dem das Kompetenzzentrum Berliner Handwerker*innen im Rahmen des Learning Circles Nachhaltigkeit in Kooperation mit der Handwerkskammer Berlin einlädt, werden genau diese Fragen praxisnah beleuchtet.

Katja Anclam, Geschäftsführerin von difgl und KI-Expertin, gibt gemeinsam mit Carmen Albrecht (Beraterin für Innovation und Technologie sowie Betriebsberaterin für nachhaltige Unternehmensführung bei der Handwerkskammer Berlin) Einblicke in die Potenziale und Herausforderungen von KI im Arbeitsalltag. Neben einer verständlichen Einführung in grundlegende Konzepte stehen konkrete Anwendungsbeispiele und die Einordnung gesellschaftlicher Auswirkungen im Fokus.

Die Teilnehmenden erhalten die Möglichkeit, Perspektiven für den eigenen Arbeitskontext zu entwickeln und sich mit anderen über den Einsatz von KI im Handwerk auszutauschen.

Termine: 06.05. und 20.05.2026
Ort: Berlin
Teilnahme: kostenfrei

Der Workshop richtet sich an Handwerker*innen, die sich mit den Auswirkungen und Einsatzmöglichkeiten von KI in ihrem Arbeitsumfeld auseinandersetzen möchten.

Mehr Infos hier: https://kompetenzimhandwerk.de/event/herzliche-einladung-zum-workshop-ki-im-handwerk-was-hat-das-mit-mir-zu-tun-dein-werkzeug-deine-entscheidung/

Wladimir Kaminer came to Berlin from Moscow in the early 90s – and stayed. In Prenzlauer Berg, between vodka, prefabricated buildings, and party culture, he not only found a new home, but also inexhaustible material for his stories. His texts are insightful, humorous, melancholic – and always deeply human.

Hardly anyone has shaped the attitude to life in post-reunification Berlin as much as he has – with his debut “Russendisko,” Kaminer wrote a literary declaration of love to the capital at the beginning of the 2000s, which still enjoys cult status today.

A prolific writer, his latest book “Das geheime Leben der Deutschen” (NEW: “The Secret Life of Germans” by Wladimir Kaminer – Book – 2025 ) describes what fascinates him about everyday life in Germany.

In this podcast, we talk about his first years in Berlin after the fall of the Wall, how the city has changed since then, what role humor and literature play in this, and how Berlin is (still) a kind of playground for adults.

🎧 Podigee: https://londonberlindemocracy.podigee.io/6-neue-episode
🎧 Spotify: https://open.spotify.com/episode/4e8YecX4LPzSoKnBrbNeKv?si=59c565becf534ac3

With her experience at the intersection of creativity, education and sustainable development, she provides practical insights into how AI tools can support creative processes, generate content and strategically develop tourism offerings.

In the interactive online workshops, we work specifically with AI tools for text, image and marketing, discuss ethical and legal issues and create space for individual practical examples.

The offer is aimed at anyone who has already gained initial experience with AI and would now like to delve deeper into the application: How can target groups be analyzed? How do I optimize content for different platforms? And how can AI be used strategically in the development and marketing of creative tourism offerings?

Organizer:
The workshop is organized by the State Association of the Cultural and Creative Industries of Saxony e.V. and is part of the Makers, Business & Arts project, a main project of

European Capital of Culture Chemnitz 2025.

👉 More about the State Association of the Cultural and Creative Industries of Saxony e.V.
👉 Information about the “Makers, Business & Arts” project

In the coming months, we want to:

• Build strong partnerships and increase our visibility.
• Secure further funding to enable an extended project duration.
• Develop a clear design language that combines innovative design with classic communication functions.
• Take our public relations work to the next level.

Experience in difgl project work has shown that personal exchange is the most fertile ground for innovation and growth. We look forward to everything that comes and are happy to have such a great partner as the Filmuni at our side.

In the new episode of the difgl podcast LondonBerlinDemocracy, filmmaker Sabine Pusch and Public Policy Expert Robert Keeling take a critical look at citizens’ assemblies in Berlin and London. How much influence do they really have? Are they an effective means for social change – and why are such democratic elements more important than ever?

In this episode, you’ll hear from:

• Sabine Pusch, Filmmaker
• Dr. Robert Keeling, Public Policy Expert
• Dr. Kerstin Lücker, Head of Technology and Participation, Department Work and Technology, TU Berlin
• Dr. Timothy Hall, Academic in Residence & Organiser with Citizens UK

Together they discuss the following questions:

• Do citizens’ assemblies really work?
• What are the political hurdles and what are the opportunities?
• What can they contribute to the future of democracy?

Listen now and join the discussion: https://londonberlindemocracy.podigee.io/episodes

SPLEE – Platform for Essays and Discourses

Last year, together with the Film University Babelsberg KONRAD WOLF, we launched the project “SPLEE – Streaming Platform for Longreads and Essays from Europe”, funded by the Federal Ministry of Education and Research. Our aim is to make European discourses accessible across borders to all citizens in their respective languages. With AI-supported translations and data visualization, we are facilitating access to essays from leading European media companies.

The project promotes democratic exchange and strengthens understanding of European perspectives. Our interactive website will be launched soon.

KIDD – Artificial Intelligence Serving Diversity

In the research project “KIDD – Artificial Intelligence Serving Diversity”, funded by the Federal Ministry of Labor and Social Affairs under the umbrella of the New Quality of Work Initiative (INQA), we have worked with our partners to develop quality criteria, training courses, the KIDD process and a self-audit for the diversity-sensitive implementation of AI systems. The project has been completed for several months, and we regularly incorporate our knowledge into our consulting services and workshops for companies and institutions.

Upcoming AI Events:

On March 11, 2025, difgl Managing Director Katja Anclam, together with Annette Gräfin von Wedel for female.vision, will be invited as an AI expert to the ver.di specialist conference “Digitalization and Artificial Intelligence in Retail” in Berlin. There, they will be running an interactive workshop on the fair and equitable use of AI. The conference will present practical ways in which retail employees can systematically participate in the introduction of AI and how interest groups can optimally exploit their rights to information, participation and co-determination with regard to AI.

More information here: https://handel.verdi.de/themen/++co++9ccf2940-d7d4-11ef-b40d-f365f03bf377 .

AI ImpactDays on April 09 – Artificial Intelligence for a Better World

This year, AI expert and difgl GF Katja Anclam will also be at the AI Impact Days in Berlin, the leading practical event for impact through artificial intelligence in the DACH region. Her mission: AI for Good!

More information here: https://ai-impactdays.socialimpact.eu .

The fact is: AI remains an important driver for a good life in the future. That is why we are further expanding our range of consulting services relating to trustworthy AI in 2025. Interested?

Your work often seems to operate at the intersection of physicality, materiality, and technology. How does the idea for a performance come about – does it begin with an idea of movement, a particular material, or a technical experiment?
It varies greatly: In Women at the Stove, kitchen utensils made of metal, magnets on costumes and kitchen walls were at the beginning – so the material. In addition, there were electromagnets in the platform soles of the shoes, which can, for example, magnetize brooms and pots and release them again – so a technical experiment. In the performance Latex, on the other hand, the idea of movement gave the first impulse: When watching a classical ballet, I had the idea of making the immense power with which dancers jump visible. For this, I attached the hem of a highly stretchable latex dress to the floor: The force of the jump is thus braked. When the dancer figure jumps, the dress visually stretches far in length, while the latex fabric simultaneously slaps audibly against the legs.

You often expose your body to extreme physical stress in your work. What role does this boundary experience play in the statement of your performances? And how do you reflect on the expectations of female bodies in the process?
In the performance Ytong, I dance flamenco on a Ytong stone, with thick spikes under my dancing shoes – until the stone is broken down into rubble and dust. Through an act of destruction, I reach my physical limits by dismantling the base, the pedestal on which I dance. It becomes increasingly fragile until I fall down. Here, the sculpture is not created in a conventional artistic creation process, but through its reversal, the destruction. At the same time, I am dismantling the image of the dancer: From the initially “classical” flamenco – in pumps, with castanets – the destruction of the base turns into a swaying balancing act. The flamenco increasingly gets out of time, my movements become arrhythmic, rowing, until I fall.

How do you choose your materials, and what do they reveal about the narratives you want to tell?
I check the materials for their choreographic usability: How do they break, fall, shatter, stretch, sound, swing? Are the material processes and resulting sounds interesting? Are the materials and their installative arrangement coherent, do narratives arise that I sometimes, but not always, control. In the performance Spare Tires, I dealt with the racing driver Clärenore Stinnes; for me, her story was a kind of underground on which I worked. Often, however, the images and stories arise in the minds of viewers and art critics: In Muddclubsolo, I wear a red outdoor tent as a dress and hang on my hair, which is braided into a braid, which reminded many of the figure of Olympia from the stories of E.T.A. Hoffmann.

The theme of femininity runs like a red thread through your work. How do you define modern femininity in an artistic context – especially in the field of tension between autonomy, technology, and body?
It is very often about images of women and women’s roles. When I started my studies at the Art Academy in Munich, there was a shelf “Women” in the library. It was that simple: The few performance artists that existed at that time were simply sorted into a corner. That was striking! Specifically, I ask different questions in my performances. An example: For millennia, women in almost all parts of the world have been reduced to the kitchen and the stove. They were confined and restricted in the smallest space, in their freedom of movement, in their actions, in short: in their dignity as individual personalities with all their possibilities. And although this has changed a lot in our society, much of what women can do and do is still ranked rather low on the scale of values. With Women at the Stove, I return to the place where women were deprived of their dignity: It is a heavy metal art performance with household appliances. Emancipated, self-confident, with a lot of energy. The kitchen becomes a percussive-scenic sound space, the woman at the stove becomes an artist who is all that women have long been forbidden to be: visible, loud (also quiet), unique.

Your performances often work even without your physical presence, such as in installations or retrospectives. What does this independence of your works mean for your role as a performer and artist?
Actually, it only means that I don’t always have to be physically present.
I once tried to perform with an installation running independently of me, the Walking Machine. That was a machine that had seven pairs of dancing shoes running at the same time. These shoes were prepared by me with different materials, so that they produced different sounds. In the process, I realized that it is uninteresting to perform with a stoically running machine. Ultimately, the Walking Machine became an exhibit.
Unlike my performances, my installations are performative in that they move, but they are self-contained, mostly repetitive performances.

The difgl deals with questions of the good life and social transformation. In your opinion, what impulses can art – especially performative installation art – give to think about alternative ways of life and technologies?
Art is always creative and innovative, so there is hardly any area that provides more impulses for social transformation. That is a truism. Whether performance and installation can do this better than other art forms, I do not know. But certainly installations fit into our time of machines, and performance has emerged as a liberation from the constraints of conventional art settings, so both carry highly topical impulses: The installation the mechanical, the performance the great challenge that absolute freedom brings with it: Here it is a matter of casting an anchor again and again in the vast ocean of possibilities.