Born in 1960 in Wolfen/Germany. Ulf Langheinrich is an artist and composer with a focus on electronic music, the relationship of image and sound, time-based art as well as the visualisation of sound. The existential dimension of the human body has been a key area of his artistic research over the last 30 years.
As co-founder of the media art duet GRANULAR-SYNTHESIS, he realised international large scale projects, including MODELL5, NOISEGATE and POL, at Institute of Contemporary Art (ICA) in London, MAK Museum Vienna, Stedelijk Museum Amsterdam, Kunstverein Hannover/Germany, ICC Tokyo, Creative Time in New York City and the Austrian Pavilion at the Venice Biennial 2001. In this context he also composed SINKEN for orchestra and electronic, a part of the DANGEROUS VISIONS project commissioned and performed by Orchestre National de Lille and Art Zoyd.
His artworks has been exhibited in Barcelona (MACBA), Berlin (Martin-Gropius-Bau), Dresden/Germany (Hellerau – European Center for the Arts), Ghent/Belgium (Film Fest), Hong Kong (Run Run Shaw Creative Media Centre), Melbourne (ACMI), Moscow (Red October and Vinzavod Modern Art Centre), Rotterdam (DEAF), Seoul (Incheon Digital Arts Festival), Shanghai (Zendai MoMA) and Vienna (Wien Modern).
Since 2016 Ulf Langheinrich is the artistic director of CYNEART, a festival for new media art in Dresden.
Which sound is special for you?
A question enough to write pages, so what comes first to my mind?
The sound of the Roland MKS 80 –an analogue polyphonic sound module from 1984, especially slightly detuned square wave (the sound of the square waveform is unusually almost mathematically clean although it is created by VCOs) filtered by its VCF with a high amount of resonance. This sound played in low register is of unique hypnotic quality to me. I programmed it on many other machines but never achieved this quality.
The sound of a pipe organ with half and quarter pulled mechanic stops or otherwise reduced air flow.
The sound of any synthesizer played with 70 percent keyboard scaling on OSC, most commercial synthesizers can’t do this anyway because it seems an odd idea to most musicians, even many musicians and many electronic composers either play the usual tempered scale or some kind of atonal structures.
How important is the context, in which your work is performed, to you?
The context is not important as long as the technical circumstances are fine, and a general level of concentration is present.
Is music science? Why (not)?
To me it’s not science, I have been working intuitively. Another question is: is music knowledge? Yes of course!