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Title

Meandering River

Place (Year)

STATE Studio, Berlin, DE (2019)
Funkhaus, Berlin, DE (2018)

My Responsibilities

sound (composition),
programming (real time sound engine),
A.I. (machine learning environment for sound)

Contractor
Lead Agency
Credits

creative direction
Cedric Kiefer

production
Aurélien Krieger

code & design
Henryk Wollik

audio concept & composition
Kling Klang Klong

research
João da Fonseca, Luca Lolli

hardware provider
ICT AG

photos
onformative

Description

Over time, landscapes are gradually shaped by natural forces. Indiscernible to the naked eye, we only perceive one moment at a time. The fluctuations and the rhythmic movement of rivers are a glimpse into the past, as traces provide evidence of the constant transformations that surround us.

Meandering River is an audiovisual installation comprised of real-time visuals generated by an algorithm and music composed by an A.I. This digital artwork makes change perceivable by creating a unique awareness of time. Spanning over multiple screens, the piece reinterprets the shifting behaviors of rivers by visualizing and sonifying their impact on the surface of the earth. The musical score was developed in collaboration with kling klang klong guided by the intention to enhance the emotional, complex and unpredictable nature of the visual aesthetic. Through a research of various computational strategies, the musical composition was created using the Google Magenta Performance RNN learning model and a custom-built procedural system.

To collect training datasets, piano players were invited to improvise musical phrases based on the diverse visual sceneries of the animation. The range of auditive interpretations they produced served as a large-scale polyphonic inventory for the Artificial Intelligence to learn from. To reflect the performative nature of the work, values outputted directly from the river simulation such as the length, curvature and events of connections of the meandering river were analyzed and interpreted in real-time to influence musical parameters like tempo, note strength, intensity, pitch range.

As a result of an iterative process guided by kling klang klong’s valuation, the machine achieved the composition of an original musical score whose harmonic quality reached the standard expected from a human composer and a rich cinematic connection between the visuals and the music. As a final outcome, the artwork consists of six different visual modes, which each are accompanied by a peculiar musical composition. The full video below presents the utmost balanced interplay of visuals and sound.

More information.

Title

Light Cloud

Place (Year)

Merck Innovation Center, Darmstadt, DE (2018)

My Responsibilities

sound (composition + design),
programming (player + interaction),
technical co-planning

Contractor
Lead Agency
Client
Credits

sound and Interaction design
Kling Klang Klong
Asako Fujimoto, Niki Necke

creative direction, lighting choreography
Tamschick Media+Space

technical development and realisation
iart ag

architect and general planner
HENN

photos
Tamschick Media+Space

Description

The Light Cloud is a large scale sound and light installation located at the new Merck Innovation Center in Darmstadt, Germany. It was developed in close collaboration with Tamschick Media+Space and iart. Our contribution to this extraordinary project was to create an interactive and generative sound environment that consists of more than 80 unique soundscapes.

The main layout and design of the Light Cloud is inspired by the various physical and emotional states of a living organism. Each audiovisual composition reflects one character-trait of this artificial being like Anger, Fear or Love. During the day the installation rearranges our sound compositions according to it’s state of mind so that on each visit the space feels completely different. The visitors experience a broad set of self-evolving scenarios that range from playful musical compositions up to complex sound experiments.

We designed a 3D audio system integrated in the ceiling and the mirrors of the room that completely enveloped light sculpture. The setup allowed us to literally control flying sound objects throughout the space and to unfold sound worlds that are constantly in motion. A hidden grid of motion sensors spread into the space continuously changes the audiovisual appearance of the installation according to the behavior and movement of the visitors. Sound, light and movement merge to an interactive canvas.

In order to deal with such a complex technical setup, we invented a unique multichannel audio standard to control and synchronize the visual with the auditive world. This allowed us to orchestrate the 576 OLED panels in real time and made it possible to literally draw light in space with sound.

More information and video documentation.

Title

I'm not a robot

Place (Year)

Futurium, Berlin, DE (2018)

My Responsibilities

sound (composition + design),
programming (interaction)

Lead Agency / Contractor
Client
Credits

creative direction, sound + music production,
interaction design
Kling Klang Klong

scenographic concept and light-sculpture
Schnellebuntebilder

3D audio spatialization
Z-Achse

Photos
Christian Losert, Kling Klang Klong, Futurium

Description

I'm not a robot is an interactive 3D-Sound installation that allows visitors to shape sound in a playful environment. Signing as venue and commissioner was the new Futurium in the heart of Berlins governmental district. Its generous south wing allowed us to rig a 27 meter diameter dome of speakers creating an enormous ambisonics sound field. 
Every speaker was equipped with a sound reactive light wire to enhance the impression of directive hearing within the space.
‍

This visual counterpart to the 3D sound system was created and built by schnellebuntebilder, who manufactured approximately one kilometer of LED-wire to construct a tree-like structure illuminating the dome. During the opening night, the interactive 3D-sound installation was transformed to a platform for professional artistic and musical performers like Brandt Brauer Frick and Kling Klang Klong. The 3D audio rendering was planned and overseen by Z-Achse. The studio also mixed the performance onto the 3D ambisonics system.

Title

Abdruck – Architecture as Instrument

Place (Year)
Materials

architectural model, prints, monitor

Credits

concept, development, realization: FAKT (Sebastian Ernst, Jonas Tratz, Sebastian Kern, Martin Tessarz) with Christian Losert

photos

MAXXI, Christian Losert, FAKT, Seoul Biennale

More information
Description

Abdruck is the title of an ephemeral installation at the Tempio di Minerva and also stands for how research and method during the work process were approached. The german expression describes the operation of a negative form resulting from a positive and vice versa. The idea roughly finds its equivalent in the english “sonic imprint” and italian “Impressione sonica”. A first fascination with the Tempio di Minerva derives equally from its history and recurring presence in art/architectural history. It has been documented and used by Piranesi, Palladio and many others. A projection ground and instrument for the assertions, fantasies and interpretations of differtent minds and epochs.

Tempio di Mnerva’s history is full of mysteries and even in current research its actual purpose or original use has never been clearly determined. Moreover, the life of the temple is full of transformations and structural changes. Built as a prototypical structure and ideal form, it got ruined in decay over time but also remodeled and transformed from a temple surrounded by landscape to a monument inside the city. As a preliminary exercise, we couldn`t resist actually producing a set of drawings ourselves. These drawings show the tempio in three epochs, and by this, in its threemain life stages: 400 A.D. as an operating temple; 1600 A.D. as a ruin outside of the city, surrounded by fields; and 2017 A.D. as a monument overgrown by the city of Rome.

This sets the background of our projects by asking questions after combining the research of all collected documents - a span from ancient times to the fast-paced, loud and busy elements that surround the Tempio di Minerva today. How can the Tempio become more than just a fraction of memory - but again a lively part of the city? How could, in musical ways, a geometry be read as a partitur (score) with an installation that makes the temple an instrument – a “body of sound”?

The project develops from these initial points: recording the noises of the surrounding city and live-transfering them into a musical sound installation. Making the Tempio an oasis within the city allowing to experience an altered version of the actual tonal impacts. The interior of the Tempio acts like a vase. The sound waves emitted from the city are giving the Tempio its form, and vise versa. Like a bat in a cave experiencing the space through the pattern of soundwaves being reflected by it. By transforming sound and space, the project will transform and renegotiate the Tempio’s relation within the city of Rome as well as its role within the context of time.

Produced for MAXXI - Museo nazionale delle arti del XXI secolo and 서울도시건축비엔날레 Seoul Biennale of Architecture and Urbanism 2017 in cooperation with Future Architecture.

Title

Robert Henke – Lumière

My Responsibilities

head of artistic planning department of Robert Henke's Lumière performance project including the supervison of site specific details of his work.

Credits

artist
Robert Henke

laser machines
LaserAnimation Sollinger

photos
Studio Robert Henke
Red Bull Content Pool

Description

Lumière is an audiovisual composition for lasers and sound. The building blocks of the piece are a new type of events, a compound of visual shapes and a sonic counterparts. The work is based on hundreds of these audiovisual 'notes', to create a previously unseen and highly synchronized immersive experience. The lasers project on a large screen, partially obscured by a wall of fog, which also makes the intensive beams of light visible in the air, connecting the lasers in the back of the room with the front, forming fragile temporary objects above the audience. The special quality of the laser light allows to combine complete darkness with moments of extreme brightness, pure white with intense saturated colors and precise movements with complex organic shapes.

© Studio Robert Henke

Place (Year.Month)

Lumière III Perfomances

MUTEK Festival, Montrèal, CA (08.2017)

Place (Year.Month)

Lumière II Perfomances

Volksbühne, Berlin, DE (11.2015)

Recital Centre, Melbourne, AU (11.2015)

Zollverein, Essen, DE (10.2015)

MUTEK MX, Mexico City, MX (10.2015)

Gray Area, San Francisco, US (10.2015)

30 Years LAS, Berlin, DE (09.2015)

CTM Siberia, Novosibirsk, RU (09.2015)

Lunchmeat Festival, Prague, CZ (09.2015)

Muziekgebouw, Amsterdam, NL (09.2015)

Malmolivekonserthus, Malmo, SE (09.2015)

Festival Forte, Montemor-o-Velho, PT (08.2015)

Fak'ugesi, Johannesburg, ZA (08.2015)

LCF (planning), Rio de Janeiro, BR (08.2015)

Unsound/Luminato, Toronto, CA (06.2015)

NODE 15, Frankfurt, DE (05.2015)

Place (Month.Year)

Lumière I Performances

Kino Siska, Ljubljana, SI (02.2015)

Muziekgebouw, Amsterdam, NL (12.2014)

Contemporary Art Center, Vilnius, LT (11.2014)

Skanu Mezs, Riga, LV (10.2014)

Todays Art Festival, The Hague, NL (09.2014)

Bozar Electronic Arts Festival, Brussels, BE (09.2014)

Teatro dei Rinnovati, Siena, IT (09.2014)

Scopitone, Nantes, Fr (09.2014)

Barbican, London, GB (07.2014)

MUTEK/ELEKTRA Festival, Montreal, CA (05.2014)

Click Festival, Helsingor, CA (05.2014)

RBMA, New York City, US (05.2014)

L.E.V. Festival, Gijon, ES (05.2014)

Donaufestival, Krems, AT (04.2014)

Electropark Teatro della Tosse, Genoa, IT (04.2014)

RNCM FutureEverything, Manchester, GB (03.2014)

Unit, Tokyo, JP (03.2014)

HKW CTM / Transmediale, Berlin, DE (02.2014)

Unsound Festival, Krakow, PL (10.2013)

Title

Robert Henke – Werk III

Place (Year)

Mischanlage Zollverein, Essen, DE (2015)

My Responsibilities

planning & supervison of site specific details of his work.

Credits

artist
Robert Henke

laser machines
LaserAnimation Sollinger

photos
Studio Robert Henke

More Information

Stiftung Zollverein

Description

Zollverein's "Mischanlage" (mixing facility) is an impressive building consisting of a grid of 3 by 4 funnels, some 20 meters high, built from massive concrete. As part of the transformation process from an active production unit to a cultural heritage, some of the funnels have been partially cut through and connected with a walkway, allowing visitors to experience the inside of a structure which usually is not accessible. Strong lasers create additional pyramids of light, made visible via fog. The cold precision of the intensively luminous planes is broken by the unpredictable spatial expansion of the smoke from the fog machines, rigid geometry meets random variation and chaotic behaviour. The intensity and texture of the light changes over time, the system oscillates in a very slow multidimensional movement.

© Studio Robert Henke

Title

Klangwelle

Place (Year)

Urban Spree gallery – Krake festival, Berlin, DE (2015)

Kühlhaus – Masterexhibition University of Arts, Berlin, DE (2015)

Materials

10 motorized pendulums, 10 speakers, 1 computer

Credits

concept, development, realization: Christian Losert

supervision (master-exhibition): Prof. Hans Peter Kuhn

Description

Klangwelle is an installation featuring 10 motorized pendulums including 10 loudspeakers at their ends to discover the structure and spatial impact of dynamic waves within an audiovisual area. The generative shapes are inspired by physicist Ernst Mach’s pendulum wave experiments.

Title

Berlin 201Hz

Place (Year)

WISP – Festival, Leipzig, DE (2016)

UNI.K – studio for soundart & science, Berlin, DE (2013)

Materials

1 projector, 4 speakers

Credits

concept, development, realization: Christian Losert

cello: Kanari Shirao

photo: Rubab Paracha

Description

Every place tells it’s own story. Like a common threat a single cello note combines a variety of soundscapes to a floating stream of urban information. By comparing several places, their acoustic identities become apparent. The quadrophonic installation Berlin 201 Hz represents the rich auditory diversity of the capital’s urban soundscape.

Title

Fundamental Forces FF06

Place (Year)

Havremagasinet, Boden, SE (2015)

My Responsibilities

co-planning & supervison of site specific details of the work

Credits

artists
Robert Henke
Tarik Barri

photos
Christian Losert

More Information
Description

Fundamental Forces is a collaborative audiovisual installation and performance project by Robert Henke and Tarik Barri. Complex visual shapes and sonic structures emerge as the result of repeated, simple mathematical operations to form an abstract world of floating objects in deep virtual space. Fundamental Forces references notions of physics that describe how our universe is constructed. This inspiration induces a reinterpretation of reality that is strongly infused with a subjective, aesthetic view and gives rise to the narrative of a parallel universe governed by manmade rules. By using self-written and continuously enhanced software, Fundamental Forces not only creates what people hear and see but also builds the foundations of what they could experience in the future. Henke and Barri build a machine that constitutes a class of potential installations. Each screening is a snapshot of the current development. Technically it is a prerendered ultra high definition ultra wide-screen projection with surround sound.

© Tarik Barri

Title

Am Puls

Place (Year)

Exhibition – Der Gang Der Dinge, Crescendo Musikwochen, Berlin, DE (2014)

Materials

12 speakers, 1 computer

Credits

concept, development, realization: Christian Losert

recording-assistant: Kanaro Shirao

supervision: Prof. Hans Peter Kuhn

photo: Silje Nes

Audio File
Description

The work Am Puls is inspired by Gabriele Sitrls serial partiture at the subway station "Spichernstraße" in Berlin.
Several surround-recordings taken from the subwaystation are transferred into a hallway of the University of Arts at the Bundesalle nearby the station.
Synced by the subway schedule and based on the incoming and outgoing movements of the train, an algorithmic composition occurs in the art building.

The generative piece has been presented weekly on a randomly chosen day at the Udk hallway. It has been open for the public between 2014 and 2018. The moving soundpiece was created for an array of twelve speakers along the hallway.

Title

Clockwork

Place (Year)

Pulse Lab II – Hebbel am Ufer 2, Berlin, DE (2013)

EMW – Conservatory of Music, Shanghai, CN (2013)

Materials

Wavefieldsnythesis-system based on 107 speakers on 3 layers (Shanghai) / 1 Layer of 96 speakers (Berlin), 1 computer

Credits

concept, sound-design: Jan Brauer & Christian Losert

wfs programming: Christian Losert

sound recording: Jan Brauer

supervision (pulse lab II version): Prof. Robert Henke

photos: Robert Henke, Barco

Description

Created for a ring of 96 speakers the composition behaves like a massive clockwork. The wavefieldsynthesis system allows to immerse a visitor into an invisible sound world. Inspired by the delicate mechanics of a clockwork a complex soundscape slowly rises up. Only with his ears the listener discovers a multilayered machine from the inside. As part of the group exhibition Pulse Lab II the piece was awarded with a Honorary Mention at Ars Electronica, Linz, AU (2013).

Title

Spielende Bäume

Place (Year)

Haus der Berliner Festspiele, Berlin, DE (2012)

Ars Electronica, Linz, AU (2012)

Materials

1 camera, 1 computer, 2 speakers

Credits

concept, development, realization: Christian Losert

Description

The interactive system tracks down the moving leaves in front of the large scale windows separating the foyer at the Haus der Berliner Festspiele from the outside. An algorithmic logic converts the movements in realtime into control signals for a dedicated sample library. The audio archive is based on old sound-recordings that have been taken during the last 40 years of the annual jazz festival at the Haus der Berliner Festspiele. Compositorial changes of the piece are linked to the streaming winds outside the building.

The piece extracts the historical function of the building and converts it into a contemporary context. As part of the exhibition Lebensräume a 5 min long live recording of the realtime system has been shown at Ars Electronica, Linz, AU in 2012.

Title

Music Book

Place (Year)

Univsersity of Applied Science, Darmstadt, Media Arts & Science Campus Dieburg (2011)

Materials

1 projector, 1 infrared-pen, 1 book, 2 cameras, 2 speakers, 1 computer

Credits

concept, development, prototype: Christian Losert

supervisor: Prof. Kyrill Fischer / Thorsten Greiner

Description

Musicbook was the practical result of my bachelor thesis. It dealt with the conception and the prototypical realization of a musical interface by converting an empty book into a digital storage medium. The interaction worked via a self-made infrared-pen that made it possible to “draw” virtual music notes into the book.

The musical principle was based on a “step-sequencer” which offered the creation of musical patterns in real-time. By projecting the music-partiture into a traditional medium a new method of musical interface could be experienced. In my thesis I walked along the complete creative path beginning from a conceptional idea up to the final realization of a working prototype.

Title

Sound and Intelligence – Workshop for A.I.

Place (Year)

Kompetenzzentrum Kultur- und Kreativwirtschaft des Bundes, Berlin, DE (2019)

Credits

lecturer: Christian Losert
photos: Anne Freitag

More Information
Description

Get an inside view of the concepts behind musical environments that are open for (physical-)interaction. Understand the fundamentals of how to make use of algorithms to create generative sound systems. Based on a set of machine learning examples as well as other sonification techniques you learn how to incorporate these intelligent systems into your musical creations.

You will be introduced to the basic ideas behind neural networks and their possibilities in musical applications. In a next step, based on your field of interest we are exploring generative concepts helping us to compose, design and integrate sound into your creative processes.

Title

Spatial Installations - Lecture & Workshop

Place (Year)

806qm, Darmstadt, DE (2018)

Motorenfabrik, Darmstadt, DE (2017)

Kunsthalle, Darmstadt, DE (2016)

Galerie Kurzweil, Darmstadt, DE (2016)

University of Applied Science, Darmstadt, DE (2016-2018)

Credits

lecturer: Thorsten Greiner, Christian Losert

photos: Galerie Kurzweil, Thorsten Greiner

More Information
Description

The advanced seminar spatial installations focusses on fundamential questions about the phenomenological perception of sound wihtin a three dimensional context. We discuss a collection of technical and creative strategies leading to the creation of own spatial sound experiences. The final results will be exhibited in a variety of established cultural instutions in the area of Darmstadt.

Title

Creative Strategies with Ableton Live & Max MSP

Place (Year)

University of Applied Science, Darmstadt, DE (2017)

Credits

lecturer: Christian Losert

More Information
Description

How can we compose sonic environments that allow others to interact with? What are algorithms and how can we make use of them to create generative (sound-)systems step by step? How can we catch information from the outside world and connect them to our compositions within the computer?

Built on the well documented coding environment Max MSP and Ableton Live we'll develop individual projects based on each participants area of interest.

Title

German Culture - Lecture

Place (Year)

Kunitachi College Of Music, Tokyo, JP (2013)

Credits

lecturer: Kanari Shirao, Christian Losert

photos: Kunitachi College Of Music

More Information
Description

The lecture gave an introduction into German culture. After the seminar there was an open discussion about the differences/similiarities of German/Japanese youth and art culture.

© Christian Losert
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