spliner

source: vimeo
120 meters of thin fabric are suspended from the ceiling to form a curved curtain. Four lasers in the corners of the room each project sixteen sharp beams of light onto it. The curtain’s shape has been calculated using the mathematical principle of spline interpolation. By tracing the surface with the laser beams, a complex geometric figure of 64 intersecting lines emerges, built of light and fog. Movements are synchronised with sonic events. Sound and lasers are controlled in realtime by an algorithmic process, creating an infinite number of variations over the course of the exhibition period.
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source: roberthenk

Robert Henke, born 1969 in Munich, Germany, builds and operates machines that create sounds, shapes and structures.

Coming from a strong engineering background, Henke is fascinated by the beauty of technical objects, and developing his own instruments and algorithms is an integral part of his creative process.
His material is computer generated sound and images, field recordings, photography and light; transformed, re-arranged and modulated by mathematical rules, real time interaction and controlled random operations. Robert Henke’s work has a particular focus on the exploration of spaces, both virtual and physical. Many of his works use multiple channels of audio or are specifically conceived for unique locations and their individual spatial properties.

The results include music on the edge of contemporary club culture, surround sound concerts, compositions in the tradition of academic computer music, photography, audiovisual installations, site-specific sound art and publicly available software. His long term musical project Monolake, founded in 1995, became one of the key icons of a new electronic club music culture emerging in Berlin after the fall of the german wall.
Robert Henke is also one of the main creators of the music software ‘Ableton Live’, which since its invention in 1999 became the standard tool for electronic music production and completely redefined the performance practice of electronic music.

He writes and lectures about sound and the creative use of computers, and held teaching positions at the Berlin University of the Arts, the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, and the Studio National des Arts Contemporains – Le Fresnoy in Lille, France.
His installations, performances and concerts have been presented at Tate Modern London, the Centre Pompidou Paris, Le Lieu Unique Nantes, PS-1 New York, MUDAM Luxembourg, MAK Vienna, the Art Gallery of New South Wales in Australia, KW Institute for Contemporary Art, Berlin and on countless festivals.