3D-printed, microprocessor controlled open source light object, 2016-2023
3D Files and source codes available here, soon!
Artist-made ongoing edition available this well-hidden shop
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Universal Universum Decoder
GUILLERMO HEINZE + JULIUS SCHMIEDEL
Lichtinstallation + Hologramme
Opening:
FR 10.12. / 19h
GOLD+BETON, Ebertplatzpassage
On Display: 11.12.2021 – 09.01.2022
MO-SUN 15h – 20h (entrance via Infopoint)Exhibiton Guide
Guillermo Heinze shows two holograms. More on that here, soon.
Instagram: @guillermo_heinze
Julius Schmiedel provides with the “universal universe decoder” an instrument to check on each owns personal universe via impulses of light. connected via touch, the visitors body acts as sort of an antenna for the device generating information for the visitors brain, send via RGB light diodes.
Instagram: @julius_schmiedel
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kristall.digital
An open source digital light crystal. Designed, printed, coded, run on open source technology.
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Der Drang zum Luminösen
Lichtinstallation in der Kirche Heiliger Johannes XXIII
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Charlotte
Charlotte, 2012 
LEDs, Microcontroller, 3D-Printed Object The object is back lit by LEDs being controlled in two groups by a microcontroller. On the opposite sides, the colors used are also opposing each other (in HLS color space), which means the light around it will mix to something of white light. After slowly crawling through the spectrum, an hour later the lamp will look the same as before.
Timelape of two hours
Edition made in 2019 for the Light Objects Exhibiton.
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Light Objects
Exhibition with Holograms by Guillermo Heinze
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Microdosing
Text from Wikipedia. 
Hologram by Guillermo Heinze 
“Microdosing” by Julius Schmiedel 
“Microdosing” Detail -
#vasarely #cube
Photo by Nicole Müller 3D Print, LEDs and microcontroller, 2018
Edition of 5 + 2 AP
The kinetic light object refers not only in its title to a popular theme of Victor Vasarelys Work, a flat object seeming to have depth in space due to its shading of the colours being used.
Made from 3D printed plastic, the object is lit up from the inside using RGB light diodes which are animated through an internal microprocessor. The design of the object, electronics and programming have been done by Julius Schmiedel himself, after reverse engineering the original works by Vasarely.
When plugged in, the object will randomly light up in one of 360 different colours. First seen as flat while all fields have the same luminosity, it then animates into a the state seen in the picture, where the different shades of the colour make it appear like a 3-dimensional surface. It will then cycle between the flat and the recessed state.
Currently, two remaining are available in the shop.
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RGBlaster II – tech@art Festival
Software: RGBlaster II, 2014
Hardware: Simple Sample, 2015For this group exhibition, i used the hardware from “Simple Sample” but with the software that was written for the RGblaster II. The effect is, that the three colors red, green and blue are used sequentially, ever faster changing until, to the human eye, the become white light. From a,short flash of white it slows down again, until the colors are changing every second, and the cycle continues.
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Insert Coin
Installation with Michael Schmitt for the “Lange Nacht der Museen” Cologne, 2017
Wood, 3D Printed Plastic, Electronics.
Visitors of the “Museum Night” event could not enter the studio, the doorway was transformed into a coin operated machine. Upon payment, a horn would go off for a few seconds, sparking reactions from scary to laughter.
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N/Or
Neither Installation. Nor Performance.
The performers Bettina Nampé and Philine Herrlein, together with the light artist Julius Schmiedel, create a situation in which the presence and absence of light and bodies are interwoven in such a way that they question each other’s essence.
Their central interest lies in the projections of our perception that accompany the presence of human bodies and in the means by which these projections can be unsettled, subverted, or reinforced. They confront the associated complexity with the approach of simplifying bodies—allowing them to become objects. To what extent and in what ways can the self-perception of the performers be transformed into structure and material, and how does this affect the experience of the viewers? What quality of contact arises when bodies encounter each other as objects?
The essence that is withdrawn from the bodies translates into reactions of light, which are opaque yet intricately woven into the situation. Understood as being in permanent transformation, the light pursues a life of its own, absorbing the movements of all present and thus becoming an observing element itself. N/OR is a situation that adapts and stimulates.
