Sabo

Welcome to our 2019 sunset live performance at Mayan Warrior.
Check our website for upcoming dates, news and music: www.whomadewhoband.com
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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.

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#whomadewholiveset #burningman2019

www.facebook.com/rnd92/
sunsetstream.com/
www.hernancattaneo.com/
Tracklist:
00:00 ID — ID
09:32 Marsh — Florence [Anjunadeep]
15:53 Draso — Luminary (Bona Fine Edit) [Souksonic]
19:06 GRIFE — Life’s Not A Contest [TRYBESof]
20:00 Pete Lazonby

Listen Free bit.ly/Maretimo-Webradios

Heres a nice House mix to get you through these cold winter months! Enjoy and tell a friend: )

tracklisting:

01. Frank Borell — cityroads
02. Floating Clouds — fading sunshine
03. Pascal Dubois — house

Jazz Hip Hop Trip Hop Funk Jazz Swing Hop mix

Heres the recording of my live-set from Sonnendeck @ Fusion Festival 2018.
All tracks by Monolink.

Listen to my debut album Amniotic
monolink.lnk.to/amniotic

Links:
www.instagram.com/monolinkmusic
www.facebook.com/monolink
www.residentadvisor.net/dj/monolink
www.mono.link

Monolink (live) — Fusion Festival 2018
#Monolink #FusionFestival #LiveConcert

Guy Gerber lit up the bus with his Friday morning set for the Robot Heart x Mayan Warrior tie up at Burning Man 2019

@guygerber
www.facebook.com/guygerber/

Cover Photo: Jean Sini
Video: Gaby Endo
Original Footage: John Dill

Stream / 12" Vinyl Earth EP / Limited edition Giclée art prints: ffm.to/epearth
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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

For more information visit www.maxcooper.net and sign up for free downloads and exclusive updates.

From the Chromos EP — released 26 May [MESH]
Stream/Buy Chromos MaxCooper.lnk.to/Chromos
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Video by Cornus Ammonis and Morgan Beringer

Max Cooper:

«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.»

— — — — — Follow Max Cooper:
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Buy/stream: ffm.to/yearningfortheinfinite
Subscribe: bit.ly/sub2maxcooper

Max Cooper:
For the «Yearning for the Infinite» project I looked for different ways of visualising the infinite, interspersed between imagery of humans in endless pursuit. For one chapter I wanted to visualise the digits of a transcendental number, thought to be endless and non-repeating. Martin Krzywinski specialises in visualising these digits amongst many other things, and one of my favourite images is his tree map of pi, which presents this endless nested chaos in beautiful visual form. I wanted to map that growing randomness and chaotic detailed structural form to the piece of music, so I collaborated with the great music software developer, Alexander Randon on a special tool which allows the construction of musical fractals and many other complex melodic forms. With this tool I started the piece with a simple melodic structure, which is iteratively broken down into more and more complex melodies as the tree map breaks down the initially simple first digit into more and more complex sub-structures. With the aesthetic as a whole becoming this sea of interacting notes, partly random, but with a global form emerging eventually, as the circle is embodied by the chaos of the digits of pi.

Nick Cobby collaborated with Martin to bring this idea to life in animated form for the visual show, with a hyper-detailed tree map structure growing all around the audience. And if youre interested in the ideas behind this I delved into this chapter in some detail in a recent blog essay here (which also comes as a poster with Martins tree map image inside the album vinyl package): maxcooper.net/transcendental-tree-map

Martin Krzywinski:
The transcendental tree map encodes the first 20,244 digits of Pi = 3.1415...7012.

The construction of the map begins with dividing the canvas with 3 vertical lines, which forms 4 rectangles. Each of the four rectangles formed by this process is divided with 1, 4, 1 and 5 horizontal lines, respectively. This forms 2 5 2 6 = 15 rectangles. Each of the 15 rectangles is divided by vertical lines according to the next 15 digits of Pi. This process repeats until we have performed the loop 7 times.

The division of each rectangle is not even—the positions of the lines are slightly jittered. This gives the map a more organic feel.

The number of digits encoded in each loop is 1, 4, 15, 98, 548, 2,962 and 17,180. In total, 17,180 vertical and 3,064 horizontal lines are drawn and these form the backbone of the map.

The video is created by layering numerous animations of the construction of the map, in which the rate and order of line growth is varied. Blinking rectangles indicate that the lines for a digit have completed drawing.

Original tree map and animation clips by Martin Krzywinski.

Compositing, coloring, synchronization and other post-processing by Nick Cobby.

Nick Cobby:
The challenge with Transcendental Tree Map was to bring to life Martin Krzywinskis amazing scientific visualisations of Pi. They are so dense and complex, that a considered approach was needed to ensure the computer systems could handle all the information and still maintain clarity. We had a twofold approach, using automated coded sequences from Martin and then manual digital manipulation and editing from me. Using both a generative and manual approach parallels the juxtaposition of order and randomness inherent in Martins work, and the hypnotic music Max created.

Although all Martins sequence outcomes are different, they all start with the principle rule of Pi, and when placed on top of each other, they all occupy the same grid space allowing layering and using some of the sequences as alpha channels to reveal others underneath. At any one time there are up to 30 sequences running at once. At times I wanted it to look more organic, with line tracers drawing like roots of a tree, or holes appearing in the data then glitching back to its organised structure, like its constantly battling itself. When the visual is at its peak, the construction and destruction of the order of the tree map is constant, and the notion of the infinity is revealed through the endless visual possibilities.

The transcendental tree map was originally created for 2015 Pi Day (http://mkweb.bcgsc.ca/pi/piday2015/posters.mhtml) by Martin Krzywinski (http://mkweb.bcsgc.ca) (@MKrzywinski), who has been creating Pi Day art (http://mkweb.bcgsc.ca/pi/piday.mhtml) since 2013. Martin is a staff scientist at Michael Smiths Genome Sciences Centre at BC Cancer (http://www.bcgsc.ca) where he works on data visualization.

Max Cooper
maxcooper.net/
Instagram: @maxcoopermax

Nick Cobby
nickcobby.com
Instagram: @nickcobby

Martin Krzywinski
mkweb.bcgsc.ca/

And the whole album project is explained at: www.yearningfortheinfinite.net