Track taken from the forthcoming album Sort/Lave to be released 2nd November 2018 on Planet Mu.
Design concept: When I set about constructing the video, I wanted the visual elements to engage the dynamics of the music, it felt like there was something elemental about the acoustic elements, so I starting thinking about about travelling through inner space, sub atomic structures forming and splintering apart and electric flashes of colour. I finished off by dropping in some sci-fi inspired interface elements to give the feeling you’re in a craft traversing a microverse.
Siren Servers was a commission for Sonica 2017 that brought together 4 leading Scottish sound and digital media creatives isodesign, Butler Bros, Numbercult and Giles Lamb to create a subterranean VR installation at the heart of Glasgow’s Merchant City. Exploring real time graphics, sensing and 3D audio this is a journey through a series of volumetric tableaux, with reactive motionography and sound.
Above is an edited version of the original VR installation rolled out to a panarama and with a more minimal arrangement, music was composed by Giles Lamb then re-arranged by myself. A real-time generative animation reacted to the position of the viewer/listener, as well as the music and other digital entities within the performance. Binaural sound tagged the position of objects within 3d space giving added depth to the experience.
Additional information: http://isodesign.co.uk/siren-servers-sonica-festival
The original concept was to build an animation around the track ‘Cyclic’. The track has powerful layers of complex percussion which producing a building mechanistic intensity. This is counterbalanced with melodic weightiness and a sense of scale, which evolves in waves across the piece. Max pushed the design to include a shift from 2d to 3d, and I conceived of a mechanistic structure that becomes part a sort of (futurist inspired) clockwork solar system (based on the orrery).
Rather have a conventional linear narrative or ‘journey’ I liked the idea of the Schrodingers multiverse. Working on that principle, multiple unique versions of the original system were developed by first duplicating the original solar system multiple times. Each solar system then developed independently; they contain their own behaviours, geometries and relationships, yet all occupy the same space and share a common aesthetic.
The music guides the narrative as we journey between all the overlapping solar systems, the journey is between dimensions rather than across space which I thought fitted nicely with the ideas expressed in the music: deepening but retaining a common hypnotic template. Each of the solar systems is generative; the whole project is recorded in real-time with no post production. Each recording is entirely unique guided only by the rules that govern each component system and its response via FFT analysis and directly from midi triggers and clock
A graphical sequencer where graphical collisions create the percussion. The design follows my interest in trying to mirror the emergent rhythms generated by clockwork machines, Charles Babbages analytical engine provided some design inspiration.
Inspired by Cornelius Cardew’s graphical score for treatise and based a seismograph-like method of mapping visual motion to generative musical elements. Human imput was required to ‘shepherd’ and shape the generative composition via a custom made interface. The performance is never fully under control, injecting enough humanity, but retaining generative novely and unpredictability. The perfomance element was inspired by the Dewanatron Dual Primate.