SILEX IP CGI

SILEX-IP

Leading Asset management brand Silex-ip approached me to create a series of advertisings for their 2019 product launch campaign.

The films are infused with, modern and sophisticated visual style.

SILEX Investment Managers is registered with the French financial regulator (AMF). SILEX IM offers a range of quantamental strategies built and managed by our in-house management teams. They use the SPARK platform’s tools to implement their investment strategies


MWM Hemispheres - The Construction/Deconstruction of Parallelism

Hemispheres

The Construction/Deconstruction of Parallelism

ENGLISCH

„Hemispheres“ is a 3d Audio / video installation developed by Lukas Taido (concept/music_www.lukas-taido.com) and Lars Ullrich (visual art) exclusively for MW:M, shown only nov 6th / 7th in the adjacent „Nineties Berlin“ hall. The music (32 channel 3D-audio) and projections (45 Meter curved screen) create a highly immersive / intense audiovisual artwork.

( I) Emission
(II) Reflection
(III) Neurotransmitters
(IV) Adrift
( V) Synchronicity

Wed/Thur:

8pm-11pm „Hemispheres“ only

DEUTSCH

„Hemispheres“ ist eine anläßlich der MW:M am 6/7. Nov im Nebengebäude („Nineties Berlin“) aufgeführte Audio-Video Installation v. Lukas Taido ( Konzept/Musik www.lukas-taido.com ) u. Lars Ullrich (Visual Art). Zeitlich/räumlich synchronisierte Musik u. Projektionen (32-Kanal 3D-Audio/45m Leinwand) erzeugen ein hochgradig immersives/intensives audiovisuelles Kunstwerk.

Mi/Do

20:00-23:00 durchgehend „Hemispheres“

 

„Most Wanted: Music Convention“

(https://mwm-berlin.de)

(https://mwm-berlin.de/blog/exclusive-hemispheres-immersive-audio-visual-experience-by-world-renowned-artists)

 

Powered by encircled-audio

concept & music: lukas taido
visual concepts and art: lars ullrich
iosono spatial audio technician: max röhrbein
3d -audio provided by: encircled . audio . solutions
additional audio rigging: thomas huismann
projection technician / mediaserver: emanuele musca
videofootage research and editing: johanna bock
neurologist / scientific consultant: dr. stephan teufel
thank you:
florian löhlein_most wanted:music conference_leela
armster_nineties berlin staff_ yad_ lucretia


ECM Music - FLOW / 50 year anniversary world tour

FLOW A/V Real-time Installation for ECM Records

At the core of ECM’s music lies the idea of horizontal development: the music never stops flowing and developing, a constant stream of time. The installation „Flow“ by Lars Ullrich and Mathis Nitschke lets the visitor experience this horizontal development by involving the visitor in analysis and visualization of the inner flow of music through digital animations.

The selection of music titles represents the variety and contrast of ECM’s catalog. On the screen, so-called particle systems generate a continuous stream of 3D objects in various forms. The forms, their impulse, their distribution, their speed of movement are selected on the basis of a physical 3D engine, whose parameters are precisely tuned to the music currently being played. By creating an abstract landscape from the music, the visitor can explore its fluid dynamics and be part of its organic behavior: The listener is drawn into the music.

The selection of music titles represents the variety and contrast of ECM’s catalog. Next to historic landmark recordings like the ones with Bennie Maupin, Paul Bley or Arvo Pärt more contemporary and special pieces are selected. Unusual for a music label to record a speech album, the recording of Bruno Ganz reciting Hölderlin marks an interesting radicalization of this idea of the inner movement: Even in language, the musical forward motion can be found.

HOURS
Tuesday – Saturday 12:00-21:00 Sunday, holidays 12:00-18:00 필수Closed on every Monday, Lunar New Year’s holidays, Chuseok holidays

ADMISSION
– For admission fee, see our “Exhibition” page
– Preschoolers must be accompanied by their parents

CONTACT
02-2014-7850 storage@hcs.com

LOCATION

Storage by Hyundai Card, 248, Itaewon-ro, Yongsan-gu, Seoul (B2F)

Main entrance: via the stairs on the side of the building

View on Google Maps  

Getting Here by Public Transit


Enjoy Complexity

Installation | Enjoy Complexity

Insights to the production „Einstein on the Beach“ by Phillip Glass and Robert Wilson. Directed by Kay Voges at Oper Dortmund 2017.

Lars Ullrich in his functionality as the video director of the visual design department for the multimedia opera „Einstein on the Beach” by Phillip Glass and Robert Wilson exhibited excerpts, context and processes of this complex stage performance employing computer graphics, software engineering, and computational design.

The installation took place during the theater convention festival in Dortmund in 2018. The multimedia opera was staged in 2017 in Dortmund in the planning process for the Academy for Theatre and Digitality.

The exhibition shows the process, preparations and technical depth of the visual concept. It contained the video „flight thru Osaka” which showed data preparation technics for the real-time Lidar Data animation custom build for the opera realization „Einstein on the Beach”. The visual execution took place in real time and every movement was generated and inspired by the music.

The work comprised a dataset of +80.M points (mathematical term, describing dimensions) and executed with Java and OpenGL by Lars Ullrich and his partner mathematician Frank Genot.


Einstein on the beach by Phillip Glass and Robert Wilson

Einstein on the beach by Phillip Glass and Robert Wilson

In 2017, Kay Voges directed the legendary first opera by Philip Glass, Einstein on the Beach – a milestone of the American avant-garde and of Minimal Music – at the Dortmund Opera House.

Already before launching the first preparations, a basic principle of the staging was established: everything will be steered and controlled by the music. Video projections, stage action or use of lighting should not only illustrate the music but should be linked with it in real time: the continuous, subtle variations and phase-shifts of the music, as well as its individual layers and elements, are translated into visual impulses. The production, therefore, gains an element of proper synesthesia and allows the perception of time and space to become relative – aptly fitting to the hypnotic music and to the character of Albert Einstein.

To create this unity of music, language and visuals, special software was needed. For this purpose, several shader-applications were programmed. Computing with up to 100.000 simultaneous processes, these shaders gave effects, outlines, shapes and textures to the projected video data – specifically timed to the rhythm of the music. For example, a Kinect camera was positioned close to the conductor’s desk to scan the movements of musical director Florian Helgath during the pieces Train and Knee Play 3. This scanned footage was transformed into distorted 3D-video signals, its visual appearance always paired with the music.

 

The same philosophy applied to the software developed by Ullrich, which synchronized the text of Knee Play 3 sung by the choir (ChorWerkRuhr) concurrently and autonomously to the outlines and shapes of projected film footage. Furthermore, the visuals of the Bed aria towards the end of the opera (Soprano: Hasti Molavian) were generated only according to volume and intensity of the sound sung by Molavian.

Together with mathematician Dr. Frank Génot, Ulrich developed an OpenGL-Renderer which allowed to project virtual landscapes and point clouds with more than 50 million data points in real time. Real landscapes are scanned by 3D lasers, so that they resurface as virtual point clouds (consisting of so-called LIDAR data sets) by means of enormous processing power. In Einstein on the Beach, virtual effigies of Italian landscapes (in the piece Train) or an apparent helicopter flight through the giant, virtual skyline of the Japanese city Osaka appear – these apparitions are always triggered by the structure of Glass’ music as well.

Fraying out the video image of the conductor, the genesis of exclusively digital cityscapes, as well as the costume design with its evocations of animals or post-human cyborgs (costume design: Mona Ulrich), give a special aesthetic and philosophical spin: the humanist era of being Human is fading. The notion of human art in mechanical, non-human fashion (fitting to the score and libretto of Einstein on the Beach) serves as a common theme in the multi-hour performance. It is also employed in regard to the “Nano Flight” videos. These are filmed sequences of electron-microscopic footage (conception and production: Stefan Diller). A specially coded software reconstructed Diller’s 2D-video material to 3D, based on pixel movements and colour changes. Thus, a virtual camera presents close and crystal clear 3D footage of insect wings or chemical material, exact to the nanometer. This footage, shown in the piece Trial 1, seems concurrently technical as well as organic, concurrently abstract as well as specific.

These video signals are projected onto a big screen on stage, as well as onto six transparent curtains of surgery tubes via front projection. These surgery tube curtains are embedded into the stage. A control interface was engineered by Lucas Pleß so that individual curtains could be moved spontaneously as well as along predicted, programmed directions in the stage’s rails system.

In the 2017 critics poll of Welt am Sonntag NRW, Einstein on the Beach was awarded as the best production of contemporary opera in the state. During its six-week run, it was nonstop on position #1 in the renowned nachtkritik.de-charts. The WAZ newspaper likened the performance to “a perfectly built, non-addictive but tremendously well-working drug trip. It’s a happening that’s diving through countless cultural layers and comes to its end with a wonderful place of rest.”


Micropsi - AI based Nodespace navigator

Micropsi Nodenet editor

In 2017/18 in an intensive creative programming effort, designer and programmer Lars Ullrich and mathematician Frank Genot designed a complex editor for an expanding artificial intelligence (AI) system by ‚Micropsi Industries’, a high-end machine learning solution & robotics company.

Following an international call for a project proposal the team won the competition and was able to build the custom artificial intelligence node space editor. Applying the programming languages JUCE (C++) and OpenGL the original software was re-written, translated and the editor builds on top. The difficult task was to manage and zoom out to an immense and vast amount of data and perspective to navigate, operate, organize the immense information. The editor is able to oversee and handle 1 Million nodes.

The software and the customized editor result in MESH, a powerful usable software tool with an extremely creative interface.

 

Acknowledgments

Artificial intelligence node space editor for more than 1 Million nodes.

More information about this project can be found under http://www.micropsi-industries.com/

Made with JUCE (C++) and OpenGL

Micropsi industries GmbH is building cognitive machines: They providing high-end machine learning solutions for robotics and process control.

The company was founded in 2014 by a group of experienced entrepreneurs, software engineers and scientists, most of them with cognitive science or machine learning backgrounds.
14 people, most of them at the HQ in Berlin Mitte, are working on making task-specific, on-site machine learning for industrial robotics a reality.


Savoir Vivre - Theater / Dance performance

ENG
How does the programming industry and it’s interlinked marketing practice affect our lives, the processes of individualization and formation of our ‘self‘ today? Between January and May 2015 in 3 work phases,
15 idealists from different creative fields came together to examine and envision an alternative communication system in an interdisciplinary and experimental sketch-like way. Savoir Vivre I: Action in Perception – Based on Alva Noë’s philosophy of the mind the team approached the topic and concept of cognition// featuring: Dance and Sound.

Savoir Vivre II: Hauntology – The cultural theorist Mark Fisher applied Derrida’s concept of Hauntology to the pop and media culture of our time and questioned the relationship between past, present, future and how this relationship changes when time objects are processed by technology. // featuring: text and video

Savoir Vivre III: Experimental Geography – Arjun Appadurai’s concepts of ethnic-, techno-, finance-, media- and ideoscapes as liquefaction of stable entities, which can be localized on maps, were the starting point for exploring an extended concept of geography // featuring: Material game and google maps

In the current, fourth part of the series, participants of the previous experiments present elements and methods of action from I – III, will interact with each other and exchange experiences.

from and with: Lisann van Aken (dancer), Lars Ulrich (media artist), Alexander Hof (philosopher & programmer), Frederik Worms (political scientist), Mirjam Wulff (theologian), Katrin Klietsch (art historian & gallery owner „cu – contamporary urban“), Katharina Halus (puppeteer), Valerie Gasse (costume and stage designer), Elias Oltmanns (programmer), Christian Römer (cultural networker), Caspar Schleicher (documentary filmmaker, film ark Berlin), Jonas Keller (media theorist & photographer), Malin Nagel (dramaturge), Daniel Hengst (media artist)

Subsequent reception.

Bring your mobile!

An event by „Savoir Vivre“ in cooperation with the Heinrich Böll Foundation.

 

GER

Zwischen Januar und Mai 2015 untersuchten 15 Menschen interdisziplinär und skizzenhaft den Einfluss der Programmierindustrie und des Marketings auf den Prozess der Individualisierung und Bildung unseres Selbst. In drei Arbeitsphasen kamen Idealisten aus unterschiedlichen Bereichen zusammen und versuchten ein alternatives Kommunikationssystem zu finden und zu praktizieren.

  • Savoir vivre I: Action in Perception – Auf der Grundlage von Alva Noës Geistesphilosophie näherten wir uns den Bereichen und Begriffen der Kognition// featuring: Tanz und Sound
  • Savoir vivre II: Hauntology – Der Kulturtheoretiker Mark Fisher wendet Derridas Hauntology-Begriff auf die Pop- und Medienkultur unserer Zeit an und fragt nach dem Verhältnis von Vergangenheit, Gegenwart und Zukunft und danach, wie sich dieses Verhältnis ändert, wenn Zeitobjekte durch technologische Apparaturen bearbeitet werden. // featuring: Text und Video
  • Savoir vivre III: Experimental Geography – Arjun Appadurais Begriffe der Ethno-,Techno-,Finance-, Media- und Ideoscapes als Verflüssigung von stabilen Gebilden, welche auf Karten lokalisiert werden können, waren der Ausgangspunkt für das Ausloten eines erweiterten Geographiebegriffs // featuring: Materialspiel und googlemaps

Im aktuellen, vierten Teil der Reihe werden voraussichtlich alle Akteure der bisherigen Versuche anwesend sein, Elemente und Handlungsweisen aus I – III miteinander in Korrespondenz treten lassen, Erfahrungen austauschen und kombinieren.
von und mit: Lisann van Aken (Tänzerin), Lars Ulrich (Mediaartist), Alexander Hof (Philosoph & Programmierer), Frederik Worms (Politikwissenschaftler), Mirjam Wulff (Theologin), Katrin Klietsch (Kunsthistorikerin & Galeristin „cu – contamporary urban“), Katharina Halus (Puppenspielerin), Valerie Gasse (Kostüm- und Bühnenbildnerin), Elias Oltmanns (Programmierer), Christian Römer (Kulturnetzwerker), Caspar Schleicher (Dokumentarfilmer, Filmarche Berlin), Jonas Keller (Medientheoretiker & Photograph), Malin Nagel (Dramaturgin), Daniel Hengst (Mediaartist)

Anschließend Empfang.
Bring dein Handy mit!
Eine Veranstaltung von „Savoir vivre“ in Kooperation mit der Heinrich-Böll-Stiftung.


Hamlet - Theater Dortmund

Hamlet

SCHAUSPIELHAUS DORTMUND

Videokunst in zusammenarbeit mit Daniel Hengst

nach William Shakespeares The Tragedy of Hamlet, Prince of Denmark in der deutschen Übersetzung von Reinhard Palm 

Wie oft William Shakespeares Tragödie HAMLET seit ihrer Entstehung um 1601 auf den Bühnen dieser Welt aufgeführt wurde, vermag niemand genau zu sagen. Eins aber ist sicher: Es gab in den vergangenen rund 400 Jahren Millionen von Zuschauern, die die Geschehnisse hinter den Mauern von Helsingör immer wieder neu mit offenen Herzen und Hirnen erleben wollten. Und wenn – was selten genug vorkommt – ein Theatertext die Menschen vieler Länder dermaßen konstant fasziniert, so ist oft einer der Gründe dafür, dass die Dialoge, Figuren und Fragen des Dramas Kompositionen ermöglichen, die – unabhängig von Ort und Zeit – unsere Synapsen zum Schwingen bringen. Unsere Gegenwart.

Ein Mikrokosmos, in dem das Theater der Welt stattfindet. Ein Schauplatz in Nahaufnahmen, ein Ort des Gesehen-Werdens: Schloss Helsingör, Dänemark. Hinter den Mauern der Macht ermordet Claudius seinen Bruder, den König von Dänemark, heiratet dessen Frau und reißt den Thron an sich. Dann sind da noch Claudius’ Staatsrat Polonius (mit dem Auftrag, die Augen und Ohren überall zu haben), dessen Kinder Laertes und Ophelia … und die Schauspieler. Von außen drohen Feinde, innen verfaulen Ethik und Moral – verfault ein Land. Auf allem, aus dem eine echte Revolution erwachsen könnte, liegt ein Mehltau. Hamlet, Sohn des Ermordeten, ringt mit Wahrheit und Wahnsinn. Und er ist nicht der Einzige, der bald erkennen muss, dass man in der eigenen Heimat zum Fremden werden und in der eigenen Zeit verloren gehen kann.

William Shakespeare (1564 – 1616) zeichnet in HAMLET eine Welt am Abgrund. Shakespeares wohl berühmteste Tragödie lauscht seit Stückentstehung gleich einem Seismographen in die Erschütterungen der Jetztzeit. Inspiriert zur Suche nach der Architektur unserer Welt – nach dem, was die Menschen zusammenhält, nach dem Ich in einer Zeit aus den Fugen, nach Verlorengegangenem und Verlorengegangenen.

HAMLET nach Shakespeare am Schauspiel Dortmund lädt ein zu einem Blick durch die Jahrhunderte, direkt in die zunehmend technisierte Welt unserer eigenen Gegenwart – auf das, was heutzutage fasziniert und überfordert, verängstigt und anspornt, verwirrt und verblüfft. Europa, 2014/15: Was ist der Mensch?
Im Spannungsfeld von digitaler Informationsüberflutung und Kameraüberwachung, von Daten als Rohstoff und Mittel politischer Herrschaft, von Macht und Ohnmacht, dem Sein oder Nicht-Sein in der globalen Welt und des Ichs zwischen Virtualität und Realität: Was genau ist das, was alles und jeden zu verzehren droht? Wer sind heute die Mächtigen? Was sind die Krankheiten unserer eigenen Zeit? Wo anfangen, sie zu bekämpfen? Und – wie?


Sound of Porsche

The Pop-Up-Store

Dsp developer / custom Surround application

„The Porsche pop-up store, styled like a modern record store, is an innovative, interactive way of using multimedia to tell people the story of the Porsche brand. The idea here is not merely to sell a car, as is the case in branch offices and showrooms – the primary aim of the pop-up store is to present a new, sociable way to make contact with people who are young or young at heart and let them experience the Porsche brand at close range.

“The pop-up store is a new kind of supplement to customary marketing activities. It will further enhance awareness of our brand in close cooperation with the local Porsche centers” says Detlev von Platen, Managing Director of Porsche North America, who is convinced by the unusual brand presentation.

The pop-up store is divided into three areas and includes the “Soundlab”, various media stations and a Design Corner.

At the media stations, visitors can watch sixteen specially produced films about the Porsche brand, including clips for Porsche enthusiasts, such as “Porsche Exclusive – The Most Personal Car” and “A Porsche Goes to Hollywood” with animated film star Sally Carrera.

The Design Corner provides visitors with a communicative space where they can sketch what they associate with the “Sound of Porsche”. The sketches can be uploaded by way of #soundofporsche to social networks like Instagram, where there is also a contest for the best sketch.“

https://www.ampsoundbranding.com


Sony robot arm

„Tweet a message @talayrobot and something magical happens. An ST Robotics arm whirs to life inside Sony Music’s London HQ and starts transcribing your words of wisdom unto a glamorously lit whiteboard — in the finest handwriting font its designers could find! Best part is that the whole thing gets filmed and the video is sent back to you within a matter of minutes, equipped with an audio clip from Sony’s Talay Riley. Yes, it’s a promotional stunt, but it’s also undeniably one of the coolest intersections of robotics and social networking we’ve yet seen. Skip past the break for some video examples or get tweeting and create your own.

Talay Riley has launched a unique way for fans to interact with him online – with a robot arm installation that writes Twitter and Facebook messages. The installation, which currently resides in the reception of Sony Music London, consists of an industrial robot arm, which is connected to the Internet and programmed to write messages it receives from Twitter and Facebook. The robot films each message and posts back a video to the sender (and any friends they mention) of their message being written – soundtracked to Talay’s new single ‚Sergeant Smash‘, out December 13th. Fans can send the robot a tweet to @talayrobot via Twitter, or on Facebook a http://apps.facebook.com/talayrobot“ https://www.engadget.com