Oliver Goslin
I'm an audio-visual technologist from Los Angeles, California who builds and produces interactive audio-visual immersive experiences.
I'm an audio-visual technologist from Los Angeles, California who builds and produces interactive audio-visual immersive experiences.
The Organism, a multi-media installation presented at the Centro del Carmen de Cultura Contemporánea (CCCC) in Valencia featured as a main attraction of Berklee College of Music's INOCON festival, utilizes HTML5 to route MIDI data from Google Chrome to Ableton Live, channeling MIDI data into Max/MSP to control individual components of a reactive visual centerpiece. The guiding design principles emphasize the importance of intuitive control methods; the overarching goal was to create an immersive audiovisual space where anyone, regardless of age or experience with music curation, could contribute to an evolving soundscape.
The Organism presents a constellation of four separate, independent, interfaces with a similar minimalistic graphical style intended to provide aesthetic contrast to the surrounding gothic, and renaissance, architecture, connected to a visual centerpiece which acts as an avant-garde abstraction of the surrounding environment, as well as the exhibit itself.
A walkthrough attraction and live gameplay experience on Stage 5 of the Warner Bros. Studios lot, produced by Warner Bros. Discovery Global Experiences with DC Studios. Guests are recruited inside the Fortress of Solitude, trained on Kryptonian abilities, and sent into a team mission to defend Metropolis — with scores logged and displayed live as the room plays together.
I worked as associate producer across the build, coordinating between departments and keeping the schedule, budget, and creative reviews moving toward the April 18 opening. More specifically, I was responsible for prototyping the 3D glasses charging system, calibrating the AI-powered motion capture system across the experience, and cataloguing on-site purchases in Google Sheets. I also contributed to the audio engineering team by assisting in the construction of outboard audio racks; I provided feedback on the sonics, and the separate soundtracks incorporated into the individual stations included in the experience.
Schedules, budgets, vendors, and the daily work of keeping a large creative team pointed at one date.
Custom instruments and control surfaces — browser interfaces, controller input, sensors, and the routing that ties them to sound and picture.
Generative composition, sound design, and multi-channel playback built for spaces rather than headphones.