/ Works
// Artistic Research
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GAN CHIMERA (2021-2023)
Poor AI (2021)
Planned Deep Time (2021 - ongoing)
Ablagerungen (PhD in progress)
Abstract History Machine
DISsCERN (Concept)
Four Particles Lost
LEAP
unnamed soundsculpture
Durchsehen Exp. 01
Spatial Soundsculpture
PhD (Bauhaus University Weimar)
On Technical Objects
An Iphones DNA
Teaching (2015 - ongoing)
Leuphana - From GOFAI to ML
Artistic Research (2015 - ongoing)
UdK - New Digital Literacy
UdK - MetaDating SS2020 + WS2020
HfG - Code to Material 2017 - 2018
UdK - On Projection SS2015
unnamed soundsculpture (2012)
Video, 2012
The basic idea of the project is built upon the consideration of creating a moving sculpture from the recorded motion data of a real person. For our work we asked a dancer to visualize a musical piece (Kreukeltape by Machinenfabriek) as closely as possible by movements of her body. She was recorded by three depth cameras (Kinect), in which the intersection of the images was later put together to a three-dimensional volume (3d point cloud), so we were able to use the collected data throughout the further process. The three-dimensional image allowed us a completely free handling of the digital camera, without limitations of the perspective. The camera also reacts to the sound and supports the physical imitation of the musical piece by the performer. She moves to a noise field, where a simple modification of the random seed can consistently create new versions of the video, each offering a different composition of the recorded performance. The multi-dimensionality of the sound sculpture is already contained in every movement of the dancer, as the camera footage allows any imaginable perspective.
The body – constant and indefinite at the same time – “bursts” the space already with its mere physicality, creating a first distinction between the self and its environment. Only the body movements create a reference to the otherwise invisible space, much like the dots bounce on the ground to give it a physical dimension. Thus, the sound-dance constellation in the video does not only simulate a purely virtual space. The complex dynamics of the body movements is also strongly self-referential. With the complex quasi-static, inconsistent forms the body is “painting”, a new reality space emerges whose simulated aesthetics goes far beyond numerical codes.
Similar to painting, a single point appears to be still very abstract, but the more points are connected to each other, the more complex and concrete the image seems. The more perfect and complex the “alternative worlds” we project (Vilém Flusser) and the closer together their point elements, the more tangible they become. A digital body, consisting of 22 000 points, thus seems so real that it comes to life again.