Website for interactive audio streaming platform Gencaster.
Website for contemporary art gallery Gilla Lörcher including a large exhibition archive and webshop.
Website for lawyers Jörg Hosp & Ute Frischbier.
Portfolio website for Creative Director Petra Langhammer.
Web platform for the 2025 Rundgang at University of the Arts Berlin.
Webshop for fashion creator Rut Otero.
Website for fashion and culture production company Services United.
Development of an animated component for the website of Studio Stefanie Hering.
Master thesis in M.A. Design & Computation.
Text & Video: Philipp Gschwendtner
Music: Soft Issues - Jurassic
The artistic research project Interwoven Sound Spaces investigated the creative possibilities of telematic music performance in new ensemble music through textile and network technologies. The aim was to enable rich and tangible interaction between musicians who are spatially in different places. The results of this artistic and technical research were presented in a joint interactive workshop concert with the ensemble KNM in Berlin and ensemble Norrbotten NEO in Piteå, Sweden. The project was motivated by the need to enhance communication and a sense of co-presence between musicians and audiences during live concerts happening concurrently at multiple, distant geographic locations connected via telematic means. To achieve this, we commissioned new works that combined textile wearable technologies, interaction design, machine learning, and spatialised sound in performance, thereby extending the experience of playing and spectating music telematically beyond screen-based applications.
In addition to providing tools for telematic ensemble play, we were particularly interested in the roles and dynamics of socio-cultural spaces that characterise live music performance. Factors other than music – such as dress cultures, communication between musicians, interaction between audience members – contribute to the enjoyment and success of live music performances [ref needed]. Our project and technical decisions were guided by these considerations through close collaboration between musicians, composers, researchers, venues, and developers.
The final performance took place in December 2022, simultaneously at Konzertsaal in Berlin, and Studio Acustcum in Pitea. Three musicians as well as live audiences were present at both locations. In addition the concert was streamed on the internet, where the audience was able to join two separate streams for the locations.
How can myths become alive?
Naiad seeks to explore the enigmatic essence of living myths, inspired by ancient beliefs in celestial aquatic creatures that grant wishes. Eukaryotic spirits intertwine in veiled water worlds, weaving momentary myths, listening patiently, breathing in, and persistently rushing back.
In the tradition of optical instruments, algorithmic models are considered as instruments of knowledge magnification (Pasquinelli, 2019) reaching beyond the scale of human perception. The interactive instrument and its accompanying manual open up questions of scale, objectivity and the limits of algorithmic models. Through the mismatch of GAN- generated images analysed by an object detection model, the installation highlights an algorithmic culture of “automatic correlation.”
The experimental project considers the entanglements between algorithmic practices and those in the natural sciences, especially the field of microscopy. The installation places algorithmic models in the tradition of optical instruments, highlighting their ability to reach beyond the scale of human perception. To consider the history of optical apparatuses, as well as the effects of “zoom” they produce, allows a pointed critique of algorithmic culture and the different scales and dimensions algorithms operate in/at. As representations of unrepresentable objects, algorithmically derived knowledge stands in close relation to satellite and microscopic images. Just as the microscopic image is not a photographic representation, but rather an information-matrix mapping the reaction to light or radiation, the “images” and knowledge algorithmic models produce are removed from reality as causality is replaced with a form of automatic correlation. Increasingly algorithmic systems and microscopic instruments are deployed together to navigate across these different scales of compression and complexity. As experiments from IBM with large-scale AI-powered microscopy of plankton particles show, planetary change is sometimes the most perceivable at the smallest orders of magnitudes. The changes sensed in theses instances are not noticeable in the context of a broader, more compressed model, and are easily filtered out in the moment of complexity reduction.
Exhibited @ CTM / Transmediale Vorspiel (MaHalla Berlin)
In the tradition of optical instruments, algorithmic models are considered as instruments of knowledge magnification (Pasquinelli, 2019) reaching beyond the scale of human perception. The interactive instrument and its accompanying manual open up questions of scale, objectivity and the limits of algorithmic models. Through the mismatch of GAN- generated images analysed by an object detection model, the installation highlights an algorithmic culture of “automatic correlation” (Pasquinelli, 2019).
Exhibited @ Ars Electronica 2022
