Organized Chaos - Mandelbulb 3D Fractal animation on a Soundtrack played by Paul Kayser @ArthurStammet

Uploaded February 2014 | Updated September 2026, 1 hour ago

This fractal movie combines the improvisation played by Paul Kayser during a concert with a new lecture of the movie which has been shown during the performance, recorded on the 11th november 2012 at the Dudelange St-Martin Church in Luxembourg. The concert being a tribute to movie soundtrack composers, Paul included some themes from famous movies: "Gladiator", "Harry Potter", "The Pirates of the Caribbean"...
His transcendental vision of my original footage (Gustave Eiffel meeting Carl Menger in a Time-Machine) inspired me to rebuild this movie in order to bring it together with Paul's improvised soundtrack in a still stronger combination. So, this version is a movie about the music played on a previous version of itself, a kind of selfsimilar fractal about its own initial interpretation of selfsimilarity, apprearing under another name. In order to close this artistic loop and to create a tribute to Paul Kayser's genius, I decided to listen close to his musical interpretation of my movie, deconnected from its initial soundtrack. The result of this analysis forced me to replace a series of fast and dramatic cuts, synchronized to the original soundtrack, by similar but newly organized material, synchronized in post production to its new soundtrack.

$Organized Chaos - Mandelbulb 3D Fractal animation on a Soundtrack played by Paul Kayser This fractal movie combines the improvisation played by Paul Kayser during a concert with a new lecture of the movie which has been shown during the performance, recorded on the 11th november 2012 at the Dudelange St-Martin Church in Luxembourg. The concert being a tribute to movie soundtrack composers, Paul included some themes from famous movies: Gladiator, Harry Potter, The Pirates of the Caribbean... His transcendental vision of my original footage (Gustave Eiffel meeting Carl Menger in a Time-Machine) inspired me to rebuild this movie in order to bring it together with Pauls improvised soundtrack in a still stronger combination. So, this version is a movie about the music played on a previous version of itself, a kind of selfsimilar fractal about its own initial interpretation of selfsimilarity, apprearing under another name. In order to close this artistic loop and to create a tribute to Paul Kaysers genius, I decided to listen close to his musical interpretation of my movie, deconnected from its initial soundtrack. The result of this analysis forced me to replace a series of fast and dramatic cuts, synchronized to the original soundtrack, by similar but newly organized material, synchronized in post production to its new soundtrack.$

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