Artbat playing an exclusive DJ set at Bondinho Pão de Açúcar in Rio de Janeiro, Brazil for Cercle.
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Welcome to our 2019 sunset live performance at Mayan Warrior.
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Back in 2018, we came to Burning Man for the first time and we were instantly captivated by the endless and wild impressions of the desert, the art, the music, and above all: the people. It was the same year that, due to a lucky coincidence, we were invited to play a late-night set at Mayan Warrior. Within moments, we fell in love with the art-car and all people surrounding it. We had a kind of musical epiphany there. So when we were formally invited to come back this year, playing a Thursday sunset concert, we didnt even have to think for a second. We were all hyped like crazy while at the same time feeling very humble about it. Visiting and playing at Burning Man, especially at this esteemed art-car, is something that really stood out in our lives so far. We will cherish this memory forever. It was second time we played our hybrid live-set, but definitely not the last.
Storm footage and photography by Kelly Delay
Video directed and edited by Jennifer Tividad
Max Cooper:
Thanks for coming back to have a look at this latest audio-visual collaboration. It started when I discovered the amazing work of the storm chaser Kelly Delay, and we had a bit of a chat about doing a music video together.
The idea seeded my Earth EP where I delved into various earthbound growth processes, microbiological/spike, ice formation/reflect, population growth/swarm and storm systems this time, with surge.
Then Jennifer Tividad (who has worked on Emergence, and Chromos in the past) agreed to work with Kellys stock video and stills, much of it never seen before on Kellys pages, to create this beautiful storm surge story, from windy field recording beginnings to violent nature at it finest. Big thanks to Kelly and Jennifer, and hope you enjoy it too.
Jennifer Tividad:
Earlier this year Max introduced Kelly Delay, a Texas-based multi-media artist
«This music and video project came from a collaboration with a mathematical artist who works under the name Cornus Ammonis. He creates simulations of pattern formation, using ideas originally created by Alan Turing in his attempts to explain and model the mathematics of living systems. These systems create beautiful warping interacting layers of simulated substances, and we thought this visual effect could lend itself well to an imagined alien planetary surface with some unknown form of geological process — molten landscapes.
Its a slowly evolving hypnotic visual process, so the music has the same form, with a repetitive syncopated two note motif playing under a gradually developing chord structure which becomes ever more layered. Its all about atmosphere and sitting back to let it wash over I think, its not a sharply defined piece, and it needs to be given some time to develop, but hopefully the result is worth the time you give it.
After Cornus Ammonis had created a load of stock video sequences using his models, I then passed the footage on to Morgan Beringer (who created the awesome Unbounded video from Emergence). Morgan applied his trademark processing style to the previously raw footage in order to blend and layer, and make the whole visual have a lot more smooth movement and rich organic feel. Sorry thats not a very technical description of what he did, but hopefully youll know what I mean when you see it!»
— — — — — Cornus Ammonis:
«Two systems are at work here. The first simulates a grid of points connected to their neighbors by nonlinear springs—that is, springs that break (exert much less force) once they extend past a certain point. Each point has both a position and velocity, which is updated by summing spring forces and applying reverse advection. The collective action of the spring system produces constantly-shifting hills and valleys of points that become oriented in nearly the same direction. Straddling these valleys are groups of springs that have „fractured“ in opposite directions, in a process similar to the forces governing the patterns that form in the cracked earth of a dry riverbed.
The second system is a simulation that rides along the „surface“ of the spring grid. This system produces Turing pattern-like stripes and blobs that split and merge as they propagate across the underlying spring system vector field, yielding an overall effect analogous to seafoam on an ocean wave. Like a fluid simulation, this system propagates quantities over a vector field, but no divergence minimization or advection process is used—the process is mediated only by the interplay of diffusion and various quantities computed on the vector field, namely, curl (vorticity), divergence, and the average distance between neighboring vectors. The equations governing the interactions between these quantities were chosen so that the system remains constantly in a state of flux, rather than settling into a stable configuration—they were not chosen so that the system models some specific physical process.
The output of these two systems is a vector field. In order to turn this vector field into a terrain, a solver integrates over the field to produce a height at every point (i.e. a heightmap). It is not possible to perfectly recover a heightmap from these systems, so the output of the solver is a continually-updated approximation. The terrain is rendered using raymarching, so that the entire process, from simulation to rendering, is computed entirely on the GPU.»