Together with director Matthias Schönijahn, the industrial designer Felix Kraemer, the light designer Hendrik Borowski, the musician Wojtek Blecharz and about 6 dancers and musicians, we concepted a theatre piece in which the dancers, the lights, the music and the projections move and perform according to realtime weather data, which is collected by weather stations in and outside of the theatre. The project was supported by Fonds Darstellender Künste and is still waiting for its premiere.
During the process, various ways in which real-time weather data could be translated into stage machinery via DMX, TouchDesigner, TouchOSC and Resolume were explored.
In this developed weather space, dancers and musicians were confronted with body perception practices to perceive the weather, translate it into movement, sound and language.
In relation to the term metaverse, the prefix meta- describes the seamless transition between the analog and digital world.
Similar to how the metaverse presents a digitized version of a human character,
in the room installation „Meta“ we have attempted to create an analog representation of the digital world.
On the one hand, we use mirrors and projection to depict the visitor’s avatarisation, thus creating a Selfie-space. On the other hand, video and sound content describe the virtual character of the Metaverse in which we create a cosmos that is controlled in an inhuman way by data and algorithms.
In our work process, we have tried to avoid the subjectivity of our personal perception to emphasize our concern about this form of technical emulation and created content that is designed and animated according to randomized specifications and formulas.
This creates a strange but also fascinating emptiness that appears rational and objective, although there is absolutely no specific content.
For
Lux Helsinki 2024, we produced a videomapping for one of Helsinki’s most remarkable buildings, the Helsinki Cathedral.
With temperatures dropping below -20°, Helix was exhibited during the period of January 3rd to January 7th, 2024.
"Helix" explores the interplay between two contrasting worlds: a rational, digital perspective often associated with the future, and a human, intuitive and emotional viewpoint often regarded nostalgically.
The installation begins in an abstract digital setting of grids, lines, and patterns, which initially presents itself as a provider of clarity and meaning. However, as the piece progresses, small instabilities reveal themselves, causing the lines of the grid to bend. We recognise that the system is fallible and incomplete in capturing the nuances of human nature and we end up in a state of beautiful disorder.
„As artists active in the Digital Arts field, our intention is to highlight the ongoing conflict between trusting our personal perception of beauty and creation, and relying on formulas, numbers, programs, and the ever-expanding possibilities of technology.
In "Helix", we employ a dramaturgy that transitions from a purely abstract, digital, and rational perspective to a more tangible, more human and more magical form of experience.“
The Wind premiered on the 14th October 2021 at Signal Festival Prague and was experienced as a large-scale videoinstallation over the course of 4 days by about 300.000 viewers.
For Signal's 2021 Festival Topic "Plan C", Berlin-based Weltraumgrafik have conceived an abstract and hypnotic projection about the cycle of crisis, chaos, tragedy and future.
By abstractly translating certain scenes from film history and symbols from the origin of dramaturgy, "The Wind" tries to determine conflict as an inseparable part of every evolutionary process. We live the way we tell our stories.
Divided into two parts, the recent past and the near future, "The Wind" tries to provide a positive attitude towards change and transformation.
For the reopening of Altenstein Cave in Bad Liebenstein, Thuringia, we created five audiovisual installations that narrate the history of the cave over a timeline of 285 million years.
The episodes showcase the transformation from reef to cave, the life of the cave bear, the discovery and illumination of the cave by Georg I, and the performance of Echo concerts in the early 19th century.
Each installation offers a unique experience highlighting the significance of Altenstein Cave throughout its long history.
We utilized several different techniques for the production of these episodes, including classical narrative cartoon animation, generative AI content for the portrayal of extinct animals, Iosono Spatial 3D Audio, and we edited a 1.5 million point cloud scan of the cave into an animation.
