Daniel Fischer, 1978 in Tirol geboren, aufge-

wachsen im Burgenland, lebt nun in Linz. Nach

einer abgeschlossenen technischen Ausbildung

im Bereich Elektrotechnik/Informationstech-

nologie, fand er seine Liebe zur Kunst und

studiert nun an der Kunstuniversität Linz, Stu-

dienrichtung Zeitbasierte und Interaktive Me-

dien.

Daniel Fischer, born in Tyrol, Austria, 1978

grew up in Burgenland and is now living in Linz.

After finishing his education in electronics/in-

formation technology he found his love for art

and is now studying at the Art University Linz in

the Timebased and Interactive Media program.

digital rainer

Hommage to Peter Kubelka

Te piece „digital rainer“ was created in the context of

Univ.-Prof. Mag.art. PhD Joachim Smetschka‘s lecture

„Experimentelle Verfahren“. Te computer-generated

video installation is based on the work „Arnulf Rainer“

by Peter Kubelka. Kubelka structured his work using

Original Artwork: „Arnulf Rainer“ by Peter Kubelka,

individual frames to visually represent the temporal di-

1958-1960

mension of the film itself. In „digital rainer“ the video

projection also shows either pure white or pure black

frames, which are played in blocks of 4, 9, 12, 16 or 32.

Te video frequency is 24 frames per second, the classic

cinema standard. Te selection and the weighting of the

frame blocks in white or black is chosen by the compu-

ter, referring to the structure that Kubelka used in his

work.

Contrary to the materialization that Kubelka undertook

in his artpiece, this work transports the medium film

(as video) even further into the digital realm, attempts

to distance itself from the original medium and additio-

nally leaves control to an algorithm. Nevertheless, the

video installation retains the original film frequency,

and beyond that, the projected light from black or whi-

te images deliberately refers to the effect of the original

work from 1960, extended by white noise at the sound

level.

water map

physical demonstration of rain data

Water is live.

Without water nothing organic exists.

Tis water installation visualizes - in a symbolic way -

how rain brings the whole world to life.

Presentation „Water Map“ at Open House, University

A valve is mounted on rails. Trough it, drops of water

of Art and Design, Linz, 2017

fall on a surface, that is covered with white fabric. Tis

fabric is coated with hydroscopic colour - as soon as a

certain spot gets wet, the white colour becomes trans-

parent, and the image underneath is becoming visible.

It is not immediately possible to tell, what the image

is. Te installation invites to stay longer and watch the

world map showing through more and more. To emp-

hasize the association of life, nature and growth, the

whole land on the world map is green.

Te „rain“ is consisting of single drops, which only fall

if it really rains on a certain position on earth, accor-

ding to a synchronized weather app. Te whole world

map will never show - on the one side because it never

rains at the same time everywhere, on the other side

because the synchronization with the weather app is not

permanent but happens in intervals. Also strong rain in

one region is being translated into minimal dropping.

Tis minimalistic approach stresses the importance and

the incalculable value of the creation of life and how

fragile our ecosystem really is.

Technical realization

On the ceiling, a Raspberry Pi mini-computer con-

trols two stepper motors that move an electric val-

ve on rails. The mini-computer constantly receives

new weather data from the weather app „openwe-

athermap.org“. On the basis of these data the valve

is positioned in X and Y direction. If it rains at a

specific point on earth, a drop is triggered at the

corresponding point within the installation. The

waterdrop causes the hydroscopic textile colour

to disappear and the world map below to appear.

Depending on room temperature and humidity it

takes about 10 minutes until the drop dries up and

the color covers the view again.

Online projektdocumentation:

http://www.time.ufg.ac.at/intime/projekt086/

OSC Interface Device

gestic performance: „Digital Puppet Cross“

demo: „Gestic Aquarium“

Te OSC Interface Device is the core element for the di-

Videolink:

rect translation of performance, dance and gestures into

https://vimeo.com/188064000

digital content. Te device was developed as part of the

class „Object-oriented programming in Deep Space“ by

Univ.-Prof. Dr. Gerhard Funk and was therefore speci-

ally developed for the Deep Space of the Ars Electroni-

ca Center. Its purpose is the versatile use of the device

for visually supported live dance performances and the

enablement of direct communication between perfor-

mers and visual media content.

Te first project implemented using the OSC Interface

Device is already questioning its use: the individual

performers are surmounted by a giant puppet cross in

the projection, so that it is impossible to tell whether the

performance is dictated by a digital entity or whether

the image follows the moving persons.

Te prototype was also tested as a digital aquarium in

which you can chase a swarm of fish as a shark.

Subsequently planned are refinements in functionality,

so that even more precise movements can be translated,

the wearing comfort for dancers as well as a programm-

ing solution that supports a wider range of sofware

platforms.

“Digital Puppet Cross”

OSC Interface Device

Gyro + Accelero Data

Test Run at Deep Space, AEC Linz

↓

Quaternion Data ( w, x, y, z )

Components and Protocol:

ESP-8266 Microcontroller

↓

Accelerometer

Gyroskopsensor

Wireless data transmission to:

LIPO Charger

→ Processing

Open Sound Control

→ vvvv

→ Max/MSP

→ Unity

→ Resolume Avenue

Daniel Fischer

Timebased and Interactive Media

Kunstuniversität Linz

Effect Pad Cap1.0

USB MIDI Controller

Te basic idea behind this project is to realize the user

guidance by hand gestures or proximity as a MIDI con-

troller to make a natural sensor control usable for music

production.

Tere are already a number of musical instruments on

the market as digital interface MIDI devices to control

music sequences and effects in various music proces-

sing programs. However, these so-called MIDI cont-

rollers are usually entered via mechanical switches and

potentiometers. In modern controllers, these input va-

lues are normally transmitted via the universal serial

bus connection in the MIDI protocol standard. Tus,

different effects can be freely assigned to these inputs

within various music programs.

Te Effect Cap 1.0 is already implemented in an appea-

ling and user-friendly form. In addition to the pleasant

surface of the casing, the individual control surfaces

are already designed in such a way, that a light display

in different colours gives feedback to the musician on

which setting was made by his or her gestures.

Project documentation and video samples:

http://www.daniel-fischer.at/EffectPad.html