Urs Hofer — Works

Selected works by Urs Hofer — interactive media, web and design projects from two decades, shown as a draggable desktop of era-styled operating-system windows.

Failed Teachers
https://urshofer.github.io/ft-visual
Kate Hines
https://www.katehines.com
Manuela Steiner
https://www.manuelasteiner.ch
ABCMP.XYZ
https://www.abcmp.xyz
Büro Bichsel
https://www.buerobichsel.ch
Lavinia
https://www.laviniaroma.com
X–Y–Z
X–Y–ZX–Y–ZX–Y–Z
https://urshofer.b-cdn.net/508/img_9909-1119-jpg.jpg
Edition GTA/Intercom Mono series
Edition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono seriesEdition GTA/Intercom Mono series
https://urshofer.b-cdn.net/251/gtaedition_doku_ig_02_large_copyright_thomaseugster_1792305685891.jpeg
Wiesbaden Biennale
https://wiesbaden.tr51.org
Kunst Halle Sankt Gallen
https://www.kunsthallesanktgallen.ch
Kulturstiftung Thurgau
https://www.kulturstiftung.ch
Gessnerallee
https://2020.gessnerallee.ch
Woerdz 2018
Woerdz 2018
https://urshofer.b-cdn.net/405/14-1.jpg
Work in Progress
Work in Progress
https://urshofer.b-cdn.net/377/wip_korr.jpg
essais agités
essais agitésessais agitésessais agitésessais agités
https://urshofer.b-cdn.net/264/ea-outside-2_0003_ebene-3.png
Skulptur Projekte
https://2017.skulptur-projekte.de
Echolot
https://vimeo.com/171238076
Brain Drain
https://vimeo.com/161324498
Stereo Types
Stereo TypesStereo TypesStereo TypesStereo Types
https://urshofer.b-cdn.net/419/img_0721-jpg.jpg
Algorithmische Gymnastik
https://vimeo.com/99814524
Gina Bucher
https://albertina.ch

Automatic Cinema

Automatic Cinema computes narratives from a media database (video, text, sound). It includes a system for capturing and tagging media, as well as for steering and controlling the performance. The aim is to free film from its static, once-and-for-all edited form and to enable a multitude of ways of viewing it. The concept is multimedia and multichannel, serving film just as well as spatial installation, theater, or art performance.

Geometric Storytelling

On a desktop, the important things are often found in the top right (Mac) or bottom left (Windows). Many users probably arrange their data according to their own logic: office stuff in the top left, the latest project in the middle, temporary data in the bottom right. One could therefore divide the desktop into regions and label them; the closer an icon is to the center of a region, the more strongly it possesses that region's quality.

Automatic Cinema stores the video data in a two-dimensional matrix. Regions of this matrix are defined by a keyword, so the video data acquire a stronger or weaker thematic association depending on their proximity to the keyword within the matrix. Keywords can be placed in causal-logical or relational connections using arrows or lines. The colors of the lines additionally define a positive or negative value. By applying style information, Automatic Cinema can compute a narrative path and use it to select media data.

Components

The infrastructure of Automatic Cinema consists of server software for storing the media and a command client for control. To play back the media data, several media players communicate with the controller in real time.

Controller (2012)

Mobile Controller Software
Mobile Controller Software

Displays the generated narrative as a timeline, sets the style parameters as a two-dimensional matrix, and activates tags to define the content of the narrative.

Heksler (2014)

Heksler, 2015
Heksler, 2015

Software for automatically fragmenting video sequences at hard cuts, tagging them, and storing them in the Automatic Cinema database.

Further reading:

  • https://automatic-cinema.com
  • https://github.com/urshofer/heksler
Lieber Barfuss als ohne Buch
Lieber Barfuss als ohne BuchLieber Barfuss als ohne BuchLieber Barfuss als ohne Buch
https://urshofer.b-cdn.net/225/book_mockup_06-926.jpg

Rokfor

I wrote Rokfor in 2009 as the basis for a publishing project (with Rafael Koch) at HKB Bern. Since then, I have used the software as the backend for numerous websites, publications and installations, and I have reworked it several times. As a content management system, Rokfor has a universal output interface (→ API), so it can be integrated flexibly into a wide range of processes. Among other things, custom extensions allow Rokfor to transform data into print-ready documents.

Tools

Rokfor now includes a collection of open-source tools for transforming data into PDF formats (→ Generator), for collaborative writing (→ Writer), and for syncing between different database technologies (→ MySQL and CouchDB).

Database

At its core, Rokfor is a relational database that borrows its structure from a printed magazine. A Rokfor project can be divided into hierarchically nested chapters, which can be grouped into issues (→ Issues). A chapter consists of pages, and each page consists of any number of database fields. These fields cover the common media types, text formats and database relationships.

Generators

Websites and print projects produced with Rokfor are ultimately the result of transforming data from the interface into another format (→ PDF or HTML). PDF documents for books are generated with the LaTeX or Typst typesetting language, among other methods.

Programming languages and technologies

  • JavaScript (Node)
  • LaTeX, Typst, PDFLib (PDF generator)
  • PHP (backend)
  • CouchDB and PouchDB (offline syncing)
  • MySQL (database)
Ich/Buchstabendrescher
Ich/BuchstabendrescherIch/BuchstabendrescherIch/BuchstabendrescherIch/BuchstabendrescherIch/BuchstabendrescherIch/Buchstabendrescher
https://urshofer.b-cdn.net/199/cover-842.jpg

I wrote my first BASIC programs in 1984 on a C64. At last, a computer was affordable – a revolution. Using it required programming skills; technology was already everywhere back then, but it was transparent. By the nineties, the C64 had long since been replaced by the PC. At first it worked locally, then on the network. The connection started out slow and intermittent, but it quickly became faster and soon permanent. The second revolution. Technology increasingly disappeared behind a simulation of the office desk: the desktop. At the end of the 2000s, Apple introduced the iPhone. Screens got smaller, type got bigger, and the internet slipped into our pockets. The third revolution. Technology became hard to see through, but above all, it became thoroughly commercialised. Smartphones are closed systems; only those who play along with Apple or Google get into the app store. By now, almost every device also exists in a "smart" version: smart TV, smart home, smart toilet, smart sex toy. The computer became invisible and ubiquitous, and with it the internet. The fourth revolution.

In my work, I try to keep as much control as possible over the technologies I use. That means writing the software myself, making it open, and drawing on other open projects. It also means that developing the software becomes part of the artistic or design work itself, and that some projects in turn become the foundation for others. Building the tools I need for my work also allows me to consistently explore the spaces between technology, art form and content.

What happens when a start-up's algorithms put entire professions out of work? What are the social consequences when a health insurer calculates premiums based on personal fitness data? Engineers and programmers are generally seen as apolitical, their solutions dictated by what is technically feasible. My stance as a programmer is to remain critical in this respect, whether in choosing commissions, topics or techniques, or in considering the consequences. A critical counterweight to the digital permeation of society can only come from programmers who are aware of these issues.

Scenic Panner
https://urshofer.b-cdn.net/28/scenic_panner_bauhaus_09_04_10-601.mov
Surveillance Cinema
https://urshofer.b-cdn.net/438/cams-720p-314.mp4
Expo.02
https://urshofer.b-cdn.net/549/expo_spots_dv_pal.mov
Encyclopaedizer
EncyclopaedizerEncyclopaedizerEncyclopaedizerEncyclopaedizerEncyclopaedizerEncyclopaedizerEncyclopaedizerEncyclopaedizerEncyclopaedizerEncyclopaedizerEncyclopaedizer
https://urshofer.b-cdn.net/493/enzo_1.jpeg
Fuck die Scheisse
https://vimeo.com/66106437

Urs Hofer

Urs Hofer

Urs Hofer

Urs Hofer works at the intersection of programming and art, design, literature, and music. The connection between theory and practice is the focus, for example how perception, design, algorithms, and data structures mutually influence each other. For many years, practice has been oriented toward principles such as open source and DIY. Most projects are based on independent code development. Since 2025 lecturer for Critical Coding in the BA Visual Communication program at ZHdK.

Contact

Urs Hofer
Ateliergemeinschaft Hermi 77
Hermetschloostrasse 77
8048 Zürich

E-Mail
Github
Automatic Cinema
Rokfor