Régis Gaidot

Video credits (25¢) : Directed and animated by @ericpowerup http://ericpowerup.net Piano, synths, production by @John Mark Nelson // Lyrics and vocals by jeremy messersmith Stream/purchase: https://ift.tt/338n33e @Mixtape for the Milky Way Follow: Instagram: @jeremymessersmith // @mixtapeforthemilkyway Twitter: @jmessersmith // @forthemilkyway Lyrics: when i was young i played video games castles and dungeons and damsels to save every night in the dark i would play i played on a flickering color tv i played with my forehead pressed up to the screen and i played until i would catch fire and for a little while i knew that i couldn't lose nothing in the world could tear me away when i grew up i played video games in basement apartments and empty arcades and i learned it was all just a joke there were no kingdoms or damsels to free no guardian angels that i'd ever seen and no gods but the ones that we make but for a little while i knew that i'd never lose nothing in the world could tear me away life isn't much like a video game sometimes it’s hard and there's nowhere to save and you can't start it over again so every day i play video games i guess i don't know what you want me to say i just don't want to cry anymore

Want more like this? Book your tickets for Render Conf in Oxford, UK! http://render-conf.com

'BACKSTORY' written and directed by Joschka Laukeninks for more info visit http://ift.tt/2ATshU2 or follow us on facebook http://ift.tt/2A2FgCH produced by www.themarmalade.com written and directed by JOSCHKA LAUKENINKS produced by BENJAMIN HORSTKOTTE produced by TOBIAS WICHURA cinematography by EIKE RIECHE edited by VERA BERG starring JAN STAPELFELDT, JESSICA MCINTYRE, XENIA ASSENZA narrated by PHILIPP MOOG music GERMAN WAHNSINN production company THE MARMALADE FILMS 'BACKSTORY' was shot in Germany in 17 shooting days over a period of 1,5 years. It has been screened at more than 110 festivals worldwide and, so far, has won more than 30 international awards. Our love goes out to all the wonderful people who worked so hard on this film for such a long time! :-) see the full crew list and more info at http://ift.tt/2ATshU2 here is some of the 33 AWARDS we have won * BEST SUPER SHORT* at NEW YORK CITY INDEPENDENT FILM FESTIVAL New York City, US *BEST SHORT* at ORLANDO FILM FESTIVAL, Orlando, US *BEST FOREIGN SHORT* at TWISTER ALLEY FILM FESTIVAL Woodward, US *BEST FILM* COLCHESTER FILM FESTIVAL, Colchester, UK *BEST OF FESTIVAL* at FASTNET FILM FESTIVAL Schull, Cork, Ireland *ROGER DEAKINS AWARD* at PLYMOUTH FILM FESTIVAL Plymouth, UK *JURY AWARD* at HAMILTON FILM FESTIVAL, Hamilton, US *BEST DIRECTOR* at FARM FILM FESTIVAL, Sicily, Italy *BEST FOREIGN SHORT* at ANOTHER INDEPENDENT FILM FESTIVAL, Wisconsin, USA *BEST IN SHOW* at CREATION INTERNATIONAL FILM FESTIVAL Ottawa, Canada *AUDIENCE AWARD* at OPORTO INTERNATIONAL SHORT FILM FESTIVAL Porto, Portugal *BEST STORY* at REVOLUTION ME FESTIVAL, New York City, US (...) http://ift.tt/n1DUmb http://ift.tt/2A2FgCH

Burning Man: Into the Realm - Official Trailer - Directed and Produced by Oz Yilmaz - Pelicula Films Film Website: http://ift.tt/2ydMylU Facebook: http://ift.tt/2xHN4W6 Company Website: http://www.pelicula.ca/

Burning Man 2017 - Radical Ritual I've been to Burning Man​ three times now and each time is more exciting and interesting than the last. In all honesty I never shoot much at the burn. Most of my time is spent experiencing and enjoying. This year I brought out my camera a few times to document some of the craziness that goes on at the playa. Every year I try to come up with a way to explain what Burning Man is to those who have never been and I always seem to fail. I think at bedrock Burning Man is simply a celebration of being alive You choose how to celebrate in your own personal way. While this video barely scratches the surface of the huge amount of things going on I do hope it reflects my thesis. I hope you enjoy! -Justin

Temperature anomalies arranged by country 1900 - 2016. Visualization based on GISTEMP data. Credit: Antti Lipponen http://ift.tt/2vjjtTY

Tyrone, a developer with 15 years of experience programming in Scala and Node.js, tells us why Scala is categorically better than Node.js. Through personal anecdotes and incisive commentary, Tyrone forcefully argues that developers should always choose Scala over Node.js.

Lifted from the new album 'Emergence' out now Buy 'Emergence' http://ift.tt/2eb3XTR Subscribe to Max Cooper: http://ift.tt/2iJ6h1y Now time for something totally different! With the Emergence project, I set out to work with different video artists for each chapter of the story, so that it could be varied and stay fresh throughout a 90 minute live show, while still following a single narrative. For this music video, I found an amazing artist called RC Aksun who specialised in comic-style animations full of hidden meaning and political messages - this seemed fitting for the part of the story where humans had arrived and had started to establish complex societal structures. The video brief was to focus on the emergence of altruism, and Cenk came up with the interesting idea of transposing this from a pre-human evolutionary process, to a future emergence of altruism in robots. This opened the door for some additional scorched world and warring political system narratives, which fit in well with the generally darker themes in the other videos upon the arrival of complex human society. I'm not a pessimist though, things do eventually get better in the overall Emergence story, it just happens when humans and society as we know it have transitioned to a new state. Cenk really went to town on the animation work and detailing on this, I have to say a massive thank you to him for the time he put in, which is pretty obvious watching the video, which has been hand-crafted from the bottom up. It's very different to all the other videos in Emergence, in that it's a more traditional self-contained story than the others, so I hope it will appeal to those of you who aren't so into the more abstracted parts of the project, and give the whole thing some better context in explaining how all the different videos link together - starting from abstract natural laws and structures, the physical world, stars, planets, black holes, then earth, protolife and evolution, cellular forms, complex life and eventually early humans, then going into societal structures and complex human systems, then the information age, technology, and eventually the future and dissolution of humans as we know them going into the unbounded ending. The whole thing will be released with all the music and video content following the music LP release . I hope there's some stuff in there you enjoy! - Max Follow Max Cooper http://ift.tt/NbYKkZ http://ift.tt/1es9esi https://twitter.com/maxcoopermax http://ift.tt/1ebKwyF Follow R.C. Aksun http://ift.tt/2hLguOk https://twitter.com/cenkaksun

This video is about the self-contained nature of mind and matter. The physical processing of sounds by the brain leave remnants in its structure as it learns about the outside world. Eventually the universe and the platonic realm of laws and structures are perceived. But while the natural laws and their resulting universe seem to create and contain the mind, the mind ultimately contains them all. Out now on Fields: http://ift.tt/1DrnkLy http://btprt.dj/1DHZhHk

Michael Nyman and David McAlmont - Secrets, Accusations and Charges (Max Cooper Reconstruction). Directed: Nick Cobby. This remix marks the first time multi-million selling minimalist soundtrack composer Michael Nyman (The Piano; Gattaca; The Cook, the Thief, His Wife and Her Lover) has allowed his work to be remixed. The "Reconstructions EP" is out on Last Night on Earth Recordings 9 July. THE VIDEO For the video, animator and director Nick Cobby wanted to add a human element to his visuals for the first time, asking Max Cooper fans to come down to his London studio to be filmed. "After listening to the track, I was aware of how important the vocal element is in the track, which added an emotional and human element alongside Max's sonic soundscapes. I knew that i wanted to include real people for the first time, but i wanted to change their appearance; making them something more animated and kinetic, and therefore bring them into Max's world." Each participant was filmed individually, concentrating on their facial expressions and head movements. Incorporating Kinect camera technology, depth data captured by the Kinect was used to create 3d point data of the individuals filmed. This 3d map was then reconstructed to re-create the participants, utilising code and creative technology to create a generative outcome. THE MUSIC The Reconstructions EP comprises two Max Cooper reworks – one abstract, one dancefloor - of Secrets, Accusations and Charges, Nyman's collaboration with the songwriter and vocalist David McAlmont. The song first appeared on Nyman and McAlmont's album, The Glare. It places McAlmont’s lyrics, inspired by a newspaper story about a quiet suburban Scottish woman who was discovered to be a jewel thief, over Nyman’s theme for the film Gattaca. As the Gattaca theme is an orchestral piece, both the Deconstruction and Reconstruction are built from samples of only two soundfiles: a track of McAlmont’s voice, and a single track of The Michael Nyman Ensemble playing the Gattaca theme. Many thanks to all who participated and made the video (and reworks) possible. maxcooper.net | http://ift.tt/PBNTW5 nickcobby.com | http://twitter.com/nickcobby

Download Anatomic mp3 for free at www.maxcooper.net Anatomic is part of my Emergence audio/visual show. Overall, Emergence is about how simple behaviour creates complex outcomes - how everything comes from (almost) nothing, from the big bang to all the cogs that mesh together to create civilisation. This stage of the show looks at humans as biological machines. I worked with Henning M Lederer to show we're all composed of different modules, the heart, the lungs, the circulatory system, the brain, which are themselves little machines in their own right, again composed of smaller biological machines and so on. Henning's detailed beautiful hand drawn infographic approach to video seemed like the obvious fit for telling this part of the story, so we started discussing ideas, and he created the visual format which I then scored the music too. It was the opposite of the usual music video approach where the music is created first and the video made to fit that, and the scoring technique lead me in a different direction that I would go usually. I tried to capture the fun, colourful, less serious, feel of the video, with bright synths and melodies. And I tried to replicate the idea of the never-ceasing machines within machines, with looping melodic patterns, one contained within the other, interacting and syncopating in concert to create the unified whole, with a feeling of never reaching an end point, as the melodies roll through the entire track. We had a bit of a challenge thinking about how to show the inside of the mind, and Henning came up with the nice idea of the infinite tunnel as the minds eye, which I think is quite fitting. Every time I watch the video I find new details and meanings to explore, so big thanks to Henning for his great work as always! Download Anatomic mp3 for free at www.maxcooper.net EMERGENCE SHOWS COMING... More Emergence dates coming! 12 Sep - Lot613, LA 3 Oct - Le Zoo Geneva 9 Oct - Soundcrash London 10 Oct - Button Factory Dublin 15 Oct - Melkweg Amsterdam 16 Oct - Doornroosje Nijmegen 29 Oct - Tresor Berlin 30 Oct - Ostre [Ekko Festival] Bergen Nov ... Australia!

This is a track and video from the Emergence AV project. The story as a whole visualises natural laws and their emergent properties of the observable universe and it’s timeline through planets, life, humans and society. This particular chapter of the story is an abstracted visualisation and sonification of the importance of cycles in this system. We are surrounded by cycles, in our days, seasons, behaviours, growth and decay, birth and death, cell cycles, maddening cyclic thought processes and obsessive repetition, the cycles in neural networks which form the basis of our awareness, the repetition of almost all things, and their impermanence. This idea is captured musically with a simple arpeggiating riff and looped musical structure that only builds without deviating from it’s repetition. And a visualisation of the complexity that can arise from nested cycles of different forms, each interacting with all others. Craig (Numbercult) specialises in building generative visual systems which are programmed to react to the different elements of the track, as well as being controlled live. I asked him if he could create a system full of different cycles, each mapped to the different audio elements, many of which are layered in the piece of music, and in parallel, in the video. The result is this final live rendition of Cyclic, with all of it’s complex interlinking geometries representing the complex web of interacting cycles in the real world. I love how it sometimes seems to create 3-dimensional objects and recognisable forms, in amongst the chaos! Some words from Craig about his process of creating the video - "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"

I'm really excited about this video project, after the first live show it was the part that everyone was asking about - It is a beautiful humanised exploration of life and emergence, by Maxime Causeret. I hope you enjoy it as much as I do! The idea for this part of the story started on a day when there was really heavy rain hitting the roof window at my old flat. I got out my binaural mics and put my head right up by the window with the big raindrops hitting all around. They made nice individual percussive noises, with great spatial positioning, so I decided to use them to seed a piece of music. This track is the most explicit representation of the idea of emergence in the album, because the rhythm of the track is created by the raindrops in an emergent manner - I took the audio samples, mapped the transients for the raindrop hits, and then forced the mapped points towards the nearest drumming grid positions. This meant that the random raindrops were pushed into a quantised grid, and the result was that a percussive rhythm emerged, one that I hadn't created myself, but was the closest rhythm to that particular section of rain. I then played the sansula over this rain rhythm, and added lots of pads and saturation layers, finally with some vocal snippets from Kathrin deBoer to complete the track. Maxime Causeret selected this track to work with, under the brief to map the emergent rhythm to an exploration of emergence in living form. His video shows the raindrops initially, then going into simple cellular forms and then showing the important idea of cooperation between simple cells to form more robust colonies of life. This develops into a visualisation of the idea of endosymbiosis, where simpler smaller organisms can live inside larger cells, each providing a benefit to the other, and eventually forming parts of the same organism as they evolve to be entirely dependent on each other. The video also shows competition between organisms for resources, which spurs on their evolutionary development, as each species tries to keep up with the innovations of the others. He also visualises the emergent ideas of flocking behaviour, where groups of individuals form beautiful dancing-like patterns. Maxime also shows us a section of animated reaction-diffusion patterns, where simple chemical feedback mechanisms can yield complex flowing bands of colour - these forms of system were originally thought up by Alan Turing, and were part of the early seeds of the field of systems biology, which seeks to simulate life with computers, in order to better understand the systems producing the complexity we see in the living world. They were also the starting point of my main research area many years ago before I got lost in music! (where I began with the question of what patterns could be produced via reaction-diffusion forms of system as opposed to gene-regulatory network controlled patterning). So it's a rich visual treat from Maxime on many levels, I can see why so many people were asking about it after the first live show. Lots more amazing video content to come over the next few weeks. Some words from Maxime about his process (translated from French): Max wrote a brief text on each song to let us know his own feeling and we were free to make our own creation. I firstly made a lot of small experiments with dynamic systems around my main idea of living micro organism. It was now time to experiment with editing. I also ask for opinions, ideas and tests of few friends, specially Leslie Murard. I firstly made a lot of small experiments with dynamic systems around my main idea of living micro organism. It was hard to then put everything together. It was now time to experiment with editing. I also ask for opinions, ideas and tests of few friends, specially Leslie Murard. Then i just have to do the real shots from my experiments. In terms of tools, I work with Houdini. It's a software which gives you a lot of freedom. You can easily customize tools or build your own tools. It's famous for vfx but you have the same freedom with modelling or animation tools for cheap when you're a freelance. I always start with few sketches on paper for ideas. I also search for références drawings/photos/painting. In Houdini i try to setup something fast to Cook or at least fast to preview in order to animate the shots in good conditions. The major challenge was to put everything together. There's nothing very hard but it's never easy to get something who "works" so it needed time to adjust things. This production was made this summer on 4 months but not at full time. I also had few other projects. You can listen to the full album here: http://ift.tt/2eb3XTR Subscribe for more here: http://ift.tt/2gZ56ca And more stuff at: http://ift.tt/NbYKkZ http://ift.tt/PBNTW5 http://twitter.com/maxcoopermax http://ift.tt/1nSPfwX Maxime's pages: http://teresuac.fr/ http://ift.tt/2i6Xeui

Seething / Cellular Forms by Max Cooper / Andy Lomas Music: Seething by Max Cooper - from the album, "Human" out now: Vinyl/CD bit.ly/FIELDSshop / iTunes: smarturl.it/MCHuman / Beatport: btprt.dj/TC7WHJ Video: Cellular Forms by Andy Lomas Max Cooper's 'Seething' is a musical version of human intensity, complemented visually in this video by Andy Lomas's presentation of the seething, unstoppable and unrelenting propagation of life. The simulation work originates from Andy Lomas' study titled 'cellular forms', which uses digital simulation of a simplified biological model of morphogenesis, with three-dimensional structures generated out of interconnected particles to represent cells. Each form starts with a initial spherical cluster of cells which is incrementally developed over time by adding iterative layers of complexity to the structure. The aim is to create forms emergently: exploring generic similarities between many different shapes in nature rather than emulating any particular organism, revealing universal archetypal forms that can come from growth-like processes rather than top-down externally engineered design. Cell division is controlled by accumulated nutrient levels. When the level in a cell exceeds a given threshold the cell divides, and various parameters control how both the parent and daughter cells re-connect to their immediate neighbours. New nutrient can be created by photons in cells hit by incident light rays. Nutrient can also be allowed to flow to adjacent cells. The simulation process is repeated over thousands of iterations and millions of particles, with each of the final structures comprising over fifty million cells. 00:04 -- 04:41 : Nutrient created using omni-directional diffuse light 04:41 -- 05:50 : Nutrient created using light from directly above growing forms 02:01 -- 04:28 : Blue overlay indicates regions of new cellular division 02:34 -- 03:09 : Magenta overlay indicates accumulated nutrient levels in each cell 03:09 -- 03:39 : Red overlay indicates number of photons hitting each cell For more information about Cellular Forms: www.andylomas.com http://ift.tt/1AfP1ET For more music/videos from Max Cooper: http://ift.tt/2iJ9FK2 www.maxcooper.net http://ift.tt/10ECF3p http://www.twitter.com/maxcoopermax

This track and video are about emergence from the combination of polar opposites. Fragments of self from very different places, but part of the same whole. Soft vs jagged, quiet vs loud, beautiful vs horrible, smooth vs abrasive, natural vs unnatural....you get the idea. Combining classical and computational elements is something I've been experimenting with for some years, but this attempt to combine the extreme opposites of each was spurred on by some chance DJing experiments, a fortuitous collaboration opportunity, and the amazing work of my friends Olafur Arnalds and Vaetxh (Rob Clouth). I found that I could mix the most beautiful and delicate piano solo of Olafur, with the most hyper-edited and jarring glitch of Vaetxh, and that the result actually worked, well, for me anyway, even if half the people in the club stood confused about how to dance. So when the opportunity arose to work with the pianist and composer Tom Hodge, I wanted to try and create this form of merger of extremes for a release, rather than it being confined to my DJ toolbox (also on the classical meets glitch history from a slightly different angle, check out "Rossz Csillag Alatt Született" from Venetian Snares 2005!). After some discussion of ideas and approach with Tom, he sat and played and made some recordings for me, which I then chopped and build chords and structure around, sent them back to him to play over the top of again, and then back to me to edit and glitch the playing along with the nasty noises. My detailing process was that of finding some interesting sound sources (binaural recordings, drum hit samples, clangs and slams etc) and using some Max for live randomisation chains to generate lots of partially random complexity which I could then edit as audio before repeating the process with additional layers, eventually bringing the recorded piano audio in to the editing too. At completion of the audio I was really happy to find out that Nick Cobby, one of my favourite video artists and long standing collaborator, was available and interested in working on the visual side of the project. He took the combination of seemingly incompatible opposites, and applied it visually with his beautiful generative forms, smooth and organic for the melodic sections, and jagged and abrasive for the percussive sections - big thanks to Nick for his amazing work as always! So, that's probably enough ranting about this track from me, aside from why it is like it is, I hope it's something that you can enjoy irrespective of the conceptual faff. EP available from Beatport: http://bit.ly/FragmentedOne iTunes: http://ift.tt/1aJ0jH1 More Max Cooper videos: http://www.youtube.com/user/maxbcooper Video: Nick Cobby www.nickcobby.com Audio: Max Cooper & Tom Hodge www.maxcooper.net www.tomhodge.com

This ambient piece usually appears early in Emergence. It's a demonstration of the beauty of dimensionality: specifically, how strange and appealing shapes are created when we rotate 4-dimensional structures. If forms part of the live show where we look at the fundamental building blocks of our reality, from which the familiar world around us can emerge. It's a simple process, but like many other such fundamentals of nature, is also surprisingly beautiful. The Emergence live show and album project are dedicated to these phenomena, and the story of creation from a scientific perspective, which are long term interests of mine. The code to show these images was created by the mathematician Dugan Hammock, and the music is a collaboration with Tom Hodge, Teotihucan Part 2. This was released with the Artefact EP on FIELDS, and Part 1 of the collaboration is a free download at http://ift.tt/NbYKkZ.