Sub_Trakt - interaktive Raum- und Klanginstallation

Concept for the motion analysis

He [Jackson Pollock] demanded the huge screens because the artist required big "battlegrounds" to paint not only with his arms, but with the movement of his whole body. 1

Jackson Pollock, Nummer 32, 1950, Duco (Lackfarbe) auf Leinwand

In those days I wanted to make cartoon films and saw a future for painting only through putting forms in motion, think of the drawings by Leonardo da Vinci, the Cataracts, the swirls of water or the convulsive laughter of his caricatures in motion...this, in my opinion, was the contribution of the photocinematographic apparatus to the old art of drawing.
I was fascinated by Émile Cohl's Metamorphoses, those
persons who - through gradual deformation - transformed into just as many figures enticed me, although I didn't see the reason for such attraction yet.
Far Eastern painting also interested me, not by its exotic nature, but because of its intention to represent the unrepresentable: the wind, the emptiness, the current, the withering, the softness; all of these essentially tangible things that for us, still appear to lie beyond the possibilities of the art of drawing. 2

Leonardo da Vinci, Naturkatastrophe, um 1517/18, schwarze Kreide, Feder und Tinte auf Papier

Different motion presentation possibilities generated by the Tracking-Software:

Top: Traces generated by the centers of all tracked objects

Middle: Traces generated by an image exclusion procedure

Bottom: Representation of the temporal dimension: the youngest changes create white traces that gradually fade to black

Sketch for generating traces from an image sequence

1Janson, H.W., in: Epochen der Kunst (Band 4), S.361, Hrsg. von Kammerlohr, München 19892Virilio, Paul: Der negative Horizont, S.7ff, München/ Wien 1989. Franz. Originalausgabe: L ‘horizon negatif, Editions Galilée, Paris 1984


Concept for the motion analysis

		He [Jackson Pollock] demanded the huge screens because the artist required big "battlegrounds" to paint not only with his arms, but with the movement of his whole body. `1`
`Jackson Pollock, Nummer 32, 1950, Duco (Lackfarbe) auf Leinwand`
		In those days I wanted to make cartoon films and saw a future for painting only through putting forms in motion, think of the drawings by Leonardo da Vinci, the Cataracts, the swirls of water or the convulsive laughter of his caricatures in motion...this, in my opinion, was the contribution of the photocinematographic apparatus to the old art of drawing. I was fascinated by Émile Cohl's Metamorphoses, those persons who - through gradual deformation - transformed into just as many figures enticed me, although I didn't see the reason for such attraction yet. Far Eastern painting also interested me, not by its exotic nature, but because of its intention to represent the unrepresentable: the wind, the emptiness, the current, the withering, the softness; all of these essentially tangible things that for us, still appear to lie beyond the possibilities of the art of drawing. `2`
`Leonardo da Vinci, Naturkatastrophe, um 1517/18, schwarze Kreide, Feder und Tinte auf Papier`

Different motion presentation possibilities generated by the Tracking-Software:		Top: Traces generated by the centers of all tracked objects Middle: Traces generated by an image exclusion procedure Bottom: Representation of the temporal dimension: the youngest changes create white traces that gradually fade to black




	Sketch for generating traces from an image sequence
`1Janson, H.W., in: Epochen der Kunst (Band 4), S.361, Hrsg. von Kammerlohr, München 19892Virilio, Paul: Der negative Horizont, S.7ff, München/ Wien 1989. Franz. Originalausgabe: L ‘horizon negatif, Editions Galilée, Paris 1984`