drift · drift, ein film von ulf langheinrich, contact : [email protected] 2 fact sheet author ulf...

DRIFT, ein Film von Ulf Langheinrich, Präsentation

DRIFTOutline for a audiovisual workdigital high resolution projection in cinemascopic format5.1 spatial sound

“It is a truly haunting and beautiful experience.It is to music what IMAX movies are to the public relations efforts of glaciers …”

Samir Khan about Ulf Langheinrich’s CD Degrees of Amnesia(http://www.pitchforkmedia.com/staff/)

DRIFT, ein Film von Ulf Langheinrich, Contact : [email protected] 2

Fact Sheet

Author

Ulf Langheinrich

Synopsis

The author stands for an approach to an sound and image space as a resonating matrix for an aesthetic matter.

This matter realises itself as parallel steams of sonic and light projections. The specifications of those interfaces significantly

determine the immediate sensory impact, thus, the audiences encounter with the matter.

DRIFT is a stream of picturesquely deep and dense abstract visual flow moulded from imagesbased on the notion of noise and interference. Thanks to the projected extremely high resolution ofthe visual material, the viewer looks at something which is indeed transparent, fine and detailed. Ittherefore is a bit closer to the rewarding infinite resolution of a large scale painting in comparison tothe poor image of a PAL or (even worse) NTSC video.Created through the remoulding of sonic matter a parallel sound field mirrors or opposes the visualmovement by changing its extension and consistency in sonic space.DRIFT runs of 2 or 3 computers hosting fast s-ata-hard-disk raid-arrays and uses loss-freedecompression algorithms. The intended resolution is approximately 1000x 3000 discrete pixels.Each single image is renewed 25 times a second.

There are multiple parallel spatial and temporal layers that constantly reform through processingthat alters the consistency, viscosity and transparency. The permeation, stacking and re-visualisation of these layers results in visual qualities of symphonic noise permutations or asaseptic, pure, at times even emptiness.

Generally there are no specific objects or movements, (like from the left side to the right side andvice versa), there may be mirrored movements like a continuous flow from top to bottom andslightly different from bottom to top. The absence of signs, gestures or objects in the apparentlydimensionless audiovisual meta-movement within DRIFT evokes the notion of primal and totalaesthetic matter resulting in a hypnotic audiovisual space. Such a situation is contrary to how aviewer seeks to track and observe elements of a plot. The sound-image flow arrives gradually,generating a delicate and subtle tension.


The visual space opens and closes, from surface to deep space and back to just pure screen andlight appearing as an inverted illusion. The unavailing fascinated look onto a resonant matrix buildsto an immersive deep glow. Direct sensual impact is first of all achieved by precision and highresolution and gives way to an awareness of and excitement about minimal shifts. An importantaspect is that certain shifts and oscillating movements occur outside of the actual displayedimages. They are sensations resulting as interference between the perceptive and processingpotential of the eye- brain- apparatus and specific modulations of resolution of the projectedmaterial in time and projection-space.These interference movements are not simply OP-Art related side artefacts but are the centralfocus of Drift, and their characteristics are designed over time.

It is the exclusion of computer aided interactivity that activates and empowers the viewer’ssensitivities releasing them from the promise of navigation and allowing them to accept theinternalisation of their activity as viewers, or experiences. This active viewer will however notembark onto a playful or intellectual or emotional narrative structure; but just seeing feeling andbeing in the present and now. The image refers to the concept of active looking as found in thework of James TurrelSince the membrane of the screen is constantly presented to the viewer in hyper-realistic syntheticwaves, they are propelled into a constant contradictory perceptive situation:He is confronted with a minimal and strict aesthetic statement that demands and rewards forconcentration and awareness of subtle drifts. But at the same time the viewer finds himself inunsettling sensory overloadMuch like in the visual aspects of DRIFT sound changes happen on a general level, as areformations of all sonic layers. This loaded and fluid sonic texture is similar to the sonic situationinside an aircraft during descent. Due to the impact of the sonic and subsonic sound the virtualspace gains immediacy however, its proximity and tension and the impact that the sound andflicker have on the physical body, feeling the sound through your core, takes it away from thevirtual and makes it a direct external and internal physical experience.

The author understands DRIFT as a suggestive environment, a unification of aspects of hisprevious work. The understanding of unlimited resolution and detail of pigments in analoguepainting, and the achievements of more than 15 year’s work as an electronic artist, the last 10primarily within GRANULAR SYNTHESIS.


PROCESSING STRUCTURE

found & filmed low resolution moving material algorytmicaly generated high resolution still images

& scanned high resolution still images

Re- scaling animation

raw scenes of high resolution moving images

raw scenes of high resolution moving images + associated sound files

generated sound files

Interpolation and meta-processing of scenes over time = compositing and synthesis of larger patterns

(displacement mapping, delay/negative delay patterns, re-organization of pixels on t-axis, )

Allocation and morphing of larger patterns in virtual 3-D space and on timeline, including definition of permeability and

viscosity of layers in virtual 3-D space and time

Association of 3-D sound and low frequency managementFinalizing the composition over complete duration

Preparation and fractioning for playback from synchronized computers

Edge blending and Mesh adjustment for projection

Real time playback


Technical Informatoin

Original material DV, HDTV high resolution still imagesand computer-generated material

Processing DigitalFormat Digital high definition and Dolby 5.1Presentation Cinemascope 1: 2.36 or similar wide screen formatsDuration approximately 60 minutes

A different edition - a installation version – may be shorterProduction summer 2004 to summer 2005

Sound multi-channel 3-D sound including subsonic frequencies.Standard 5.1 set upSubbwoovers equipped with 15 or 18 inch speakers 2000 watt

Image approximately 1000x3000 pixelsProjection schemes dependent on local hardware2 1200x16000 beamers or 3 1024x1200 beamers will be suitable.

Premiere summer 2005

Production teamAuthor Ulf LangheinrichImage/ Sound/ Music Ulf Langheinrich

Compositing / Editing Assistance Tanja TomicCompositing / Editing Assistance Wolfgang SchwarzenbrunnerCompositing / Editing Assistance Bernhard Zoesmayr

Software-development MODULAR X &Hardware configuration, Dirk Langheinrich

Architect Phillip Krummel

Office Heike RosenbaumBookkeeping Karl Gruenboeck


Contact :

EPIDEMIC15-15bis, allée Massenet, F-93270 SEVRAN, FRANCE

T : 33 (0)1 43 83 49 53 / F : 33 (0)1 49 36 04 [email protected]://www.epidemic.net

drift · drift, ein film von ulf langheinrich, contact : [email protected] 2 fact sheet author ulf...

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