Opening titles
LONG 0:00–0:24 · TRAILER 0:00–0:12A milling head writes the title in Hershey single-stroke lettering; the toolpath runs alongside as G-code. Behind it four slits open — the four centres.
MARKUS WINTERSBERGER · ANDREA NAGL · 2011 / 2026
INNER SPACE
Zeitgeflecht · time weave · light · time · movement
IV — MILLED IN · 04:05New version 2026AV 4K 3840 × 2160 · 25 fpsLong version 5:22Trailer 2:383D animation 1:303D model glTF · SketchfabOriginal 2011 · 9:54401 light drawings · 10 charcoal drawings
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AV 2026
G01 · 8 050 FRAMES▶ Long version 5:22Load video · YouTube
▶ Trailer 2:38Load video · YouTube
▶ 3D animation 1:30Load video · YouTube
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Time Weave
G02 · CONCEPTIn 2011, four sequences by choreographer Andrea Nagl simultaneously filled the picture space: a dancer embedded in a field of light drawings fed in live. In 2026 the metaphors of the work text are taken literally — the time weave is woven, the light trace is driven by the body, milling in becomes a toolpath, the space of time a single image.
The new version works exclusively with the 2011 material: the video of the four sequences (1280 × 720, 24 fps, with original sound), 401 light drawings and ten charcoal drawings in A2. Each chapter translates one sentence of the work text into an image process of its own — time offset, weaving, optical flow, toolpath, summed image.
The visual language was developed specifically for this work: strict black and white between light and charcoal, the polarity of the drawings as dramaturgy, a single accent colour — the glow of the milling head — and a single-stroke vector font (Hershey) that is written as a toolpath, not typeset. The titles of these pages are the same paths.
The sound is made only from the original 2011 sound: as a canon of the four centres, as granulation in the rhythm of the weaves, as sonification of the optical flow, as spindle tones of the mill and as 401 inscriptions. No generative AI.
Four sequences by choreographer Andrea Nagl simultaneously fill the picture space. The dancer is embedded in a field of light drawings fed in live. Every movement seems to change the respective light trace.Markus Wintersberger, work text 2011
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Score
G03 · TIMELINEChoose a chapter · once a video is loaded, playback jumps to that point
0:001:002:003:004:005:005:22
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Chapters
G04 · LIGHT ⇄ CHARCOAL
I — Four Centres
LONG 0:24–1:14 · TRAILER 0:12–0:30The four sequences of 2011 run side by side and are pulled apart in time (up to 18 s offset in the long version). Afterglow turns movement into trace; beneath it, the centre slit of each sequence becomes a time band.
II — Time Weave
LONG 1:14–2:14 · TRAILER 0:30–0:56An actual fabric: warp = light drawing, weft = time slit of the four sequences. Plain weave, twill 2/2, warp satin 5 and basket weave follow one another; an ikat offset shifts the warp threads in time, and finally threads drop out.
III — Light Trace
LONG 2:14–3:14 · TRAILER 0:56–1:26The dancer’s optical flow (Farnebäck) drives 9,000 light particles. They are born in the bright areas, follow the movement and glow on as traces; vortices around the four centres turn the space into a partner.
IV — Milled In
LONG 3:14–4:14 · TRAILER 1:26–1:54Charcoal and light drawings are skeletonised and milled as toolpaths into a graphite plate by four spindles T1–T4. Then the light of the drawing falls into the grooves.
V — Time Space
LONG 4:14–4:56 · TRAILER 1:54–2:18All 401 light drawings are inscribed at speed; their light lines add up to a single image — a space of time. Finally it flips into the polarity of charcoal.
End credits
LONG 4:56–5:22 · TRAILER 2:18–2:38Contributors, material, methods, references and links.
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Methods
G05 · WARP · WEFT · PATHFour weaves order the time weave. White = warp thread (light drawing) on top, black = weft thread (time slit of the four sequences) on top.
Warp and weft. The warp threads carry a light drawing, the weft threads the centre slit of the four sequences over the whole duration of the video – time as thread. Where the weave lifts the warp, the image appears; where the weft lies on top, time does.
Optical flow. Between two frames of each sequence the motion per pixel is estimated (Farnebäck 2003). This vector field drives light particles – the light trace really does respond to the dancer’s movement.
Toolpath. Charcoal and light drawings are thinned to one-pixel skeletons (Zhang-Suen), traced into paths, simplified and ordered by nearest neighbour – the way a milling machine would run them. Four spindles share the paths.
Summed image. Of each of the 401 light drawings only the light line remains (high-pass); the lines are added and compressed with 1 − e−x. Inverted, the space of time reads like a charcoal drawing.
All four methods to try yourself: Lab (DE) →
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Sound
G06 · SOUND TRACE · 7 × 20 SEverything audible comes from the original 2011 sound – stretched, granulated, filtered, delayed. Seven excerpts from the long version, twenty seconds each.
AAC 128 kbit/s · excerpts from the master (−16 LUFS). Playback starts only after a click.
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Original 2011
INNER SPACE 1–4 · 9:54▶ Inner Space 1–4 · 2011Load video · YouTube
Concept, production, video and audio: Markus Wintersberger
Choreographic concept, dance: Andrea Nagl
Earlier pages (DE): Lichtzeichnungen 1–100 (2011) · Inner Space 1–4 · Video (2011) · Kohlezeichnungen (2011)
The images respond to the dancer’s movements, make visible, as it were, the invisible time weave of her choreography and carry the play of forces into the space. The space itself becomes an interacting partner, in whose centres the dancer invents herself.Markus Wintersberger 2011
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Subpages
LAB · 3D · ARCHIVEMill · Loom · Light trace · Space of time
The four methods to try yourself: draw in four centres and export as G-code, design your own weaves, drive the dancer’s light trace, sum 401 images.
Stage space
Walk-through reconstruction of the four centres as a glTF model with hotspots, camera moves, AR view, Sketchfab and the 3D animation 1:30.
401 light drawings · 10 charcoal drawings
The complete image archive “Inner Space. 2011” – sortable by album, brightness, density and sharpness, filterable by polarity.
Deutsch
Diese Seite auf Deutsch – mit Labor, 3D-Bühnenraum und Archiv.
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Credits · Chronicle
NAGL ~ WINTERSBERGER| Concept, production, video and audio | Markus Wintersberger |
|---|---|
| Choreographic concept, dance | Andrea Nagl |
| New version 2026 | Markus Wintersberger · medienwerkstatt006 |
| Material | Video “Inner Space 1–4” (2011), 401 light drawings, 10 charcoal drawings A2, original sound |
| Licence | CC BY-NC 3.0 AT · © Markus Wintersberger 2011 / 2026 |
- 2011Inner Space – Light Drawings, variation 1–100 · charcoal drawings, variation 1–10 (A2) · in cooperation with Andrea Nagl
Light drawings 1–100 (DE) · Charcoal drawings (DE) - 2011Inner Space 1–4. From the series “Light Drawings” · variable video projection, HD 16:9, 9:54
Video pages (DE) - ArchiveImage archive “Inner Space. 2011” on Flickr: 411 images
Flickr ↗ - 2026INNER SPACE · ZEITGEFLECHT – new version and experimental AV translation in 4K: long version 5:22, trailer 2:38, 3D stage space (glTF, Sketchfab), 3D animation 1:30, project pages with lab and archive
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Technical
M30| Work | Format | Duration | Frames | Sound | Link |
|---|---|---|---|---|---|
| Long version | 3840 × 2160 · 25 fps · H.264 High 5.1 | 5:22 | 8 050 | AAC 256 kbit/s · 48 kHz · −15.9 LUFS · −1.5 dBTP | YouTube ↗ |
| Trailer | 3840 × 2160 · 25 fps · H.264 High 5.1 | 2:38 | 3 950 | AAC 256 kbit/s · −16.2 LUFS · −1.0 dBTP | YouTube ↗ |
| 3D animation | 3840 × 2160 · 25 fps · H.264 High 5.1 | 1:30 | 2 250 | AAC 256 kbit/s · −16.0 LUFS · −2.5 dBTP | YouTube ↗ |
| 3D stage space | glTF 2.0 (GLB) · animation “Space as Partner” 40 s | — | — | — | Sketchfab ↗ |
Methods: custom render pipeline in Python/NumPy with OpenCV (optical flow after Farnebäck, skeletonisation), Hershey single-stroke font, weaves as masks, custom line renderer for the 3D animation, ffmpeg/x264. Sound: custom Paulstretch stretching, granulation, filter banks, loudnorm. No generative AI. These pages: static HTML, fonts and 3D viewer (model-viewer) served locally, YouTube and Sketchfab only after consent.
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References
M02- Étienne-Jules MareyChronophotography, geometric chronophotography (from 1882) – model for the bone-line figures in the 3D stage space
- Frank B. & Lillian M. GilbrethChronocyclegraph – movement as light trace (from 1913)
- Oskar SchlemmerFigure and spatial delineation (1924)
- Rudolf von LabanKinesphere, choreutics – icosahedron around each dancer
- Gjon Mili & Pablo PicassoLight Drawings (1949)
- Paul Kaiser, Shelley Eshkar, Merce CunninghamHand-drawn Spaces (1998)
- William ForsytheImprovisation Technologies (1999)
- Gunnar FarnebäckTwo-Frame Motion Estimation Based on Polynomial Expansion (2003)
- T. Y. Zhang, C. Y. SuenA Fast Parallel Algorithm for Thinning Digital Patterns (1984)
- Allen V. HersheyCalligraphy for Computers (1967) – single-stroke vector fonts
- WeavingBasic weaves plain, twill, satin; basket; ikat
- medienwerkstatt006Inner Space – light drawings 1–100 · charcoal drawings · Inner Space 1–4 (2011)
More new versions 2026 (DE): INSIDE AN OBJECT — INNERSPACE 2026 · A MOMENT SNAKE AND CHESS — HÄUTUNG DES AUGENBLICKS · UNSTERN 2026 · DIE ANDERE SEITE — GLASWAND · SPURENKÖRPER · EUTOPIA — NEUE FASSUNG
“Space and figure are essential partners, interwoven in a symbiosis of non-manipulating energies, milled into this particular space of time of light, time and movement.”
Markus Wintersberger 2011 · nagl ~ wintersberger · medienwerkstatt006 · 2011 / 2026