Imago Caeli is an interactive projection Mapping Street Performance with inflatable, lighted costumes on stilts. It was first shown at the Bremen Carnival in 2015 and is a cooperation project between Raummaschine, Xenorama, The Solar Nexus, Stelzen-Art and Oakleaf.


The costumes are inflated and held under pressure by a system of fans and valves. Various air chambers create multifaceted variations of form elements and changes in the overall shape. In addition, there is a network of LEDs that allow the individual interior lighting of each costume element.

We developed the Raummaschine V2. The projection, the tracking and mapping were realized in vvvv. A depth sensor (Microsoft Kinect) captures the depth map in real time. This is used to mask the performers and thus to curtail the visual content on the silhouette. In addition, the content follows the movements of the performers. This allows for a completely mobile performance.


Both the analysis of human movement and gesture used to interact with digital content, as well as the search for new forms of artistic expression, which in some way extend form language, stage or dramaturgy, are the motivation of my work. The development of the media and the technology behind it also has a great influence on our motor skills, gestures and Mimmik.

A crucial problem in the development of the dramaturgy of the entire content and the choreography is its chronological dependency. The temporal space is extremely restricted and is dictated by the timeline of the audio-visual content. This temporal space must not deviate from the physical space, since otherwise visible discrepancies arise, which in the worst case extend through the rest of the available time. We use both visual content, which presupposes a fixed choreography, but also content that is freely interpretable and thus also independent of time and space.


In order to allow a combination of predefined and freely interpretable performance, certain clearly visible starting points (ques) must be defined, which must be recognizable especially for the performers. These signals can be visual as well as auditory. We use mostly melodic and dramatic audio sequences, but also audio effects, which build up the atmosphere to a certain point of entry in order to allow the actors to prepare themselves. All the spatial and temporal levels have to meet at these points of application in order to achieve a correct dramaturgy.

The vector-based implementation is particularly important for the later content production. Since the data are now available as mathematical values, they are infinitely scalable and can be reused as masks or splines.


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