Max Cooper - Order From Chaos (official video by Maxime Causeret) Max Cooper 2026-09-20 | Max Cooper - Order From Chaos (official video by Maxime Causeret)
Max Cooper - With Me (Official video by Michael McAfee) Max Cooper 2023-09-06 | ► Stream / Download / Vinyl: ffm.to/motif► Sign Up + Join Mesh Discord Community: https://os.fan/MaxCooper/SignUp► Pre-order vinyl: https://maxcooper.bandcamp.com/album/...Max Cooper:'With Me' is a little trip around New Zealand with a spacetime bending alien.For the ‘Motif’ EP, I wanted to explore a range of typical club structures and genres with a bit of my own spice. Musically on “With Me” I went down a chord driven operatic garage experiment with Kathrin deBoer, with a theme of togetherness.I started chatting video ideas with Michael McAffee and we decided to present the themes visually as us spending time with some otherworldly entities, usually invisible, living alongside us, but now revealed. These aliens of sorts also don’t experience time and space as we do, so as we hang out with them, living from their perspective things start to get a bit weird.Michael had a trip planned to New Zealand so his travels formed the basis of the setting with some epic results. It was a fun project to work on - many thanks to Kathrin and Michael for working on it with me.Michael McAfee:Max and I wanted to explore the idea of entities that travelled between & altered space and time with this piece -- As the video progressed, the severity of the rift in space-time would magnify. It seemed appropriate for the visual style of the creatures I design and it allowed me to experiment with compositing my creatures into live action footage.To convey the idea of bending space and time visually, I found that capturing photogrammetry scans and HDRi images of the environment yielded very usable 3D geometry that I could manipulate in CG. Different parameters of the morphing environment are driven by audio stems of the track that Max provided, which made for some nice audio-visual moments. 3D debugging UI elements made their way into the glitch segments, which gave the feeling that these seemingly real scenes are actually the constraints of time & space that are breaking down. A good chunk of this was done in Unreal Engine thanks to the help of Vince McKelvie. Doing these segments in a video game engine allowed us to use custom-made shaders that generate feedback loops in realtime.Everything is filmed handheld on a phone, on location in New Zealand - I wanted it to feel as if the footage captured were isolated sighting of these creatures. You’ll notice that lots of lens flares, handheld shakes, and general visual artifacts are retained in the footage which I thinks help sell the compositing work as well as the ‘random creature encounter’ vibe.CREDITSMusic: Max Cooper, maxcooper.netVideo / Motion / 3D Design : Michael McAfee, https://mcafee.design/All video & audio copyright is owned by Max Cooper and Mesh - no use without permission
Max Cooper - Forgotten Places - Official Video by Jonk / Xander Steenbrugge / Nick Motion Max Cooper 2023-09-01 | ► Stream / Download / Vinyl: ffm.to/motif► Sign Up + Join Mesh Discord Community: https://os.fan/MaxCooper/SignUp► Pre-order vinyl: maxcooper.bandcamp.com/album/motifLead single 'Forgotten Places feat. Kathrin deBoer' taken from the forthcoming 'Motif' EP - release scheduled for Oct 6 '23 on Mesh.Max Cooper:'Forgotten Places' began as a feeling, chord progression and an idea to make an audio visual project about the lost places in our built environment and the beauty of nature starting to take hold again. For me these sorts of places have always been important for some time away from the city grind when there’s no time for escaping the city. There’s something special about unkept spaces and the form of complexity that emerges along with a reassuring feeling that nature will persist beyond us.I chatted to Kathrin about the ideas and she made an on the spot improvisation for the vocals in the way that only she can, full of expression. I then started looking for imagery of the idea and found Jonk’s amazing photographs of abandoned spaces. He was interested in experimenting with how we could use his work as the basis for a music video so the next challenge was how to turn stills into moving image. The next stage of the project happened with AI art specialist Xander Steenbrugge. In the era when there are often issues around ownership and crediting of AI generated art I was interested in how we could base a project on one artist as the source, Jonk. Xander created predictions of frames linked to the photographs so sometimes we see the spaces before they were abandoned or interpolations between them.Finally, I started chatting to Ukrainian artist Nick Motion about how we could take all of the stills and downstream generated video and combine it with his style of particle work and editing to yield the final audio-synced sequence. So overall it’s a collection of different human and machine approaches as an experiment, to hopefully celebrate the photography of Jonk and capture some of the feeling and merit of our forgotten places.Nick Motion: Every project is a journey. And Forgotten Places is such a special one.For me it was fun deep dive into new software, coding and mathematical concepts. I tried to unleash forces of randomness to create a memorable visual narrative. My main challenge was to create an empty container, interesting enough visually for viewers to interact with. Almost a simulation of a narrative.I believe in the ultimate power of abstraction and chaos. Because it enables the viewer to participate in an act of art. You can only see things you already know, feel, and experience. If you listen carefully you`ll find out — the whole world is a reflection of yourself, and it can't be different.This was my first experience working with AI closely. Thanks to the developers community I have access to useful AI models, without leaving a native work environment. This is amazing how far we can get in the simulation of reality. This gives the opportunity to discover interesting parallels between nature and manmade structures. both physical and abstractCREDITSMusic: Max Cooper, maxcooper.netPhotography: JonkAI specialist: Xander SteenbruggeVisual effects/editor: Nick MotionAll video & audio copyright is owned by Max Cooper and Mesh - no use without permission
Max Cooper - Swapped (Official video by Dimitri Thouzery) Max Cooper 2023-07-26 | ► Stream / Download / Vinyl: ffm.to/motif► Sign Up + Join Mesh Discord Community: https://os.fan/MaxCooper/SignUp► Pre-order vinyl: maxcooper.bandcamp.com/album/motifSecond single, 'Swapped' taken from the forthcoming, Motif EP - release scheduled for Oct 6 '23 on Mesh. Max Cooper: There is a particular phase of my live audio-visual show where the narrative descends into the scourge of humanity on the planet, and where some techno is called for. For this chapter I was interested in capturing some of the intensity of living amongst urban development and the beauty that goes along with the incessant change and barrage of ideas from all sides. Dimitri originally made an abstracted version of this system as part of one of our creative challenges on the mesh discord, and we chatted about how to develop it to show the human story - rampant destruction, homes, cultures and ideas rapidly repurposed or wiped out to make way for the next thing, on repeat.I tried to be as direct as possible musically, and didn't add too much complexity, with just one techno scripture blaspheme, swapping the kicks and snares position so that it has the effect of dropping early as a little touch of spice on what is otherwise a straightforward club bang with a subtle addition of a binaural trip to the dentist - recordings of drilling and suction inside the mouth to complement the synth style.Dimitri Thouzery: Cities, the vibrant living places of the majority of humanity, are in a constant state of transformation. In the era of liberalization, gentrification, expansionist urbanism, and the dream of smart cities, urban landscapes are evolving rapidly.The video aims to capture the dynamic nature of these changes using a generative and audio-reactive system. Created in TouchDesigner, the system utilizes moving cubes and a differential feedback system to depict the patterns of the city. Different sounds from the tracks trigger variations in the feedback loop, creating diverse patterns. Additionally, a generative grid of buildings expands as the track progress, accompanied by animated individuals moving within the city.Designing such a generative system poses the challenge of unpredictable outcomes at each iteration. While there are ways to control noise parameters for some stability, allowing the system to be somewhat out of control adds a sense of organic evolution to the city. With infinite possibilities, even though a choice has to be made for a music clip, I like to think of it as just one of the many potential outcomes.CREDITSMusic: Max Cooper, maxcooper.netVisuals: Dimitri Thouzery, http://www.dith.mediaLabel: Mesh, meshmeshmesh.netAll video & audio copyright is owned by Max Cooper and Mesh - no use without permission.
Max Cooper - Vertebrae / Forgotten Places feat. Kathrin deBoer (Official video by Conner Griffith) Max Cooper 2023-07-07 | ► Stream / Download / Vinyl: ffm.to/motif► Sign Up + Join Mesh Discord Community: https://os.fan/MaxCooper/SignUpLead single 'Vertebrae / Forgotten Places feat. Kathrin deBoer' taken from the forthcoming, Motif EP - release scheduled for Oct 6 '23 on Mesh. Max Cooper: There is part of my live visual show where I've been delving into drum and bass, and I needed something to rip through the fabric of space. This was the result. I tried to complement the screaming synths sections with lots of detailed improvisations and modulations of Kathrin's voice, to give some of my usual structure to what is otherwise a pretty straight up club track.The themes of hidden beauty in the urban landscape and reclamation by nature were tackled by the director and artist Conner Griffith. He created a technique for turning cities into layered Escher-esc scenes, with structures and human activity mapped to the elements of the music, and specifically designed for my 3D AV live shows which the music was also built for. Conner Griffith: The initial visual experiments for this project involved using a drone to take static videosof buildings, then shaping those images in After Effects to give them an isometric perspective. I knew from there I’d effectively be left with these puzzle pieces that could be linked together to build larger, more complex, fictional landscapes. I was also exploring reductive video processing techniques like thresholds and edge detection, and finding that the lack of visual information was allowing for some pretty interesting spatial layering.Through both the photographic process in the field, and post-processing at home, I was forced to contend with the cultural context of the mediums I was working with, namely drones and video. I became interested in this top-down, aerial gaze that is familiar to us not only through drones, but satellites, GPS systems, video-games, security cameras, etc. It was interesting not only to see how dehumanizing it can be to human figures, but also the effect it had on architecture and larger infrastructures. Buildings take on a 3D- model quality, and design features are accentuated and typologized, leaving them feeling hollow and uninhabited, but also somehow editable, as if their source code has been revealed.Max’s track 'Vertebrae' ended up being a perfect template to explore some of these Ideas. There is such great attention to detail throughout the track that, to me, it felt like there was world-building that had already been done sonically; my job was to develop a visual representation of the world that I felt the music painted. Kathrin deBoer's haunting vocal performance and scatting provides a quintessentially human component as well, one that is reflected in the pedestrians that inhabit these spaces.From our elevated perspective, we look down at a world that is tracked and quantified, viewing it through a system that has crushed the fidelity of reality to a digital pulp, while simultaneously building on that reality, compounding it with layers of additional data. Both of these directions of manipulation are drawn out to their extremes until we are left with a new kind of landscape, built out of the limitations and imagination of a computing system and its relationship to us and our planet. CREDITSMusic: Max Cooper, maxcooper.netVisuals: Conner Griffith: connergriffith.com3D Animator: Jules Roze: julesroze.comLabel: Mesh, meshmeshmesh.netAll video & audio copyright is owned by Max Cooper and Mesh - no use without permission
MESH LIVE: explorations in spatial audio - Fiona Miller Max Cooper 2023-06-11 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community – Mesh is our platform to explore the intersection of music, science and art.This intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.FIONA MILLERFiona is a doctoral researcher on Leverhulme's Sensation and Perception to Awareness Doctoral Scholarship Programme, where she explores the effects of audible frequencies on the mind, brain, and body. Her research combines the fields of music and neuroscience, investigating the potential of sound as a tool for improving autonomic health and self-regulation by measuring its impact on biosignals. As an interdisciplinary researcher with a background in music, Fiona completed an MA in Sonic Arts and Composition before spending several years in advertising, working closely with a music streaming service client. It was during this time that she developed a deep fascination with the potential of sound as a therapeutic tool.fionasallymiller.co.uk
MESH LIVE: explorations in spatial audio - Emma Margetson Max Cooper 2023-06-11 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community – Mesh is our platform to explore the intersection of music, science and art.This intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.EMMA MARGETSON - SOUND/IMAGE Research Centre, University of GreenwichDr. Emma Margetson is an acousmatic composer and sound artist. Her research interests include sound diffusion and spatialisation practices; site specific works, sound walks and installations; audience development and engagement; and community music practice. She has received a variety of awards and special mentions for her work including, first prize in the prestigious L'Espace du Son International Spatialisation Competition by INFLUX (Musiques & Recherches), klingt gut! Young Artist Award in 2018 and Ars Electronica Forum Wallis 2019. She is currently a Lecturer in Sound Design and Research Fellow in Audiovisual Space: Recontextualising Sound-Image Media at the University of Greenwich. www.emmamargetson.co.ukIKO - iko-sound.co.ukSOUND/IMAGE Research Centre - gre.ac.uk/research/sound-image
MESH LIVE: explorations in spatial audio - Robyn Landau Max Cooper 2023-06-11 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community – Mesh is our platform to explore the intersection of music, science and art.This intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.ROBYN LANDAU - Kinda StudiosKinda Studios is a women-led neuroaesthetics studio translating and applying neuroscience research into creative experiences. Exploring states of being at the intersection of the artistic, scientific, cultural and technological, they lead pioneering work across sonic, visual, and immersive landscapes.instagram.com/robynlandau instagram.com/kinda.studios
MESH LIVE: explorations in spatial audio - Katherine Templar-Lewis Max Cooper 2023-06-09 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community – Mesh is our platform to explore the intersection of music, science and art.This intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.KATHERINE TEMPLAR-LEWIS - Kinda StudiosKinda Studios is a women-led neuroaesthetics studio translating and applying neuroscience research into creative experiences. Exploring states of being at the intersection of the artistic, scientific, cultural and technological, they lead pioneering work across sonic, visual, and immersive landscapes.instagram.com/katherinetemplarlewis instagram.com/kinda.studios
MESH LIVE: explorations in spatial audio - Angela McArthur Max Cooper 2023-06-09 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community - Mesh is our platform to explore the intersection of music, science and art.The intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.ANGELA McARTHUR Angela is an artist and academic at UCL. In 2020-21 she was in residence at NTNU Norway, creating spatial audio-visual works about ocean environments. In 2019 she was in residence at the Institut für Elektronische Musik (IEM) in Graz, making spatial sound installations representing ‘othered’ voices. Her research interests include spatial aesthetics, underrepresented and non-human onto-epistemologies. She champions diversity, and theorises through practice. She's worked in studio, live and location environments and founded Soundstack, an annual series of workshops, masterclasses and concerts about spatial sound aesthetics. She initiated the first UK tour of IKO works in 2019.
MESH LIVE: explorations in spatial audio - Zoe Cormier Max Cooper 2023-06-09 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community – Mesh is our platform to explore the intersection of music, science and art.This intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.ZOE CORMIERAn author and journalist with a background in zoology coupled with an upbringing and career in the music industry.zoecormier.com
MESH LIVE: explorations in spatial audio - Max Cooper Max Cooper 2023-06-09 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community – Mesh is our platform to explore the intersection of music, science and art.This intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.maxcooper.netinstagram.com/maxcoopermax
MESH LIVE: explorations in spatial audio - Llyr Max Cooper 2023-06-08 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community – Mesh is our platform to explore the intersection of music, science and art.This intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.LLYRLlyr makes music and sonic ecosystems. A protagonist of total audio immersion, he creates experiences both visceral and thought-provoking through his productions, multi-channel sound installations, live shows and DJ performances. With one foot in the rave and the other committed to widescreen dynamics, dancefloor bangers sit side-by-side with textural ambient, sweeping harmonies and freeform electronica.https://llyr.online/instagram.com/llyr1101
MESH LIVE: explorations in spatial audio - Haeeun Lee Max Cooper 2023-06-08 | * sign up for future events https://os.fan/maxcooper/mesh* Join the Mesh community on Discord https://a.os.fan/MaxCooper/DiscordMesh Live is the IRL gathering of the Mesh community – Mesh is our platform to explore the intersection of music, science and art.This intimate event in London’s West End brought together perspectives from music, technology and research in a unique, friendly and interactive community event to explore the frontiers and foundations of the spatial sound creative experience.A sold-out audience gathered together for an afternoon of exploration, inspiration and discovery around spatial audio, followed by live performances by Max Cooper and Llyr as the finale to the 4DSOUND x Mesh residency at Stone Nest, one of the best kept secrets in Soho’s theatreland.HAEEUN LEE:instagram.com/iamyourother
Aether with Max Cooper x Architecture Social Club Max Cooper 2023-06-01 | ► Sign up & join Mesh discord: https://os.fan/MaxCooper/SignUp► More Aether shows to be announced (first news via the mailer)Aether - the spacial light field installation, made in collaboration with Architecture Social Club - creates a 3-dimensional lattice of light mapped to an immersive audio experience. Aether premiered at New York Fashion Week and has since featured at Lumiere London, III Points Miami, Mutek Festival, Cultuurcentrum Hasselt and Attenborough Centre For Creative Arts in Brighton.The installation plays on the beauty of fundamental natural forms - waves, surfaces, symmetries and surreal landscapes, as the building blocks and underlying structure of the world around us - a modern interpretation of the luminiferous aether.The audience can walk around, underneath and fully explore the space as the light-field warps around them, playing on the connection between spatial and sonic structures, and our intrinsic emotional connection to fundamental natural form.Architecture Social Club (ASC) is an award-winning, multi-disciplinary design studio, operating in the overlapping domains of art, architecture, music and technology. Endlessly curious, we design and build tools to create experiences and tell stories that aim to stimulate and empower participants towards deeper, more meaningful connections between people, phenomena and their environment.Thanks: The video above is from the latest installation at Mutek Festival in Montreal. Many thanks to them for hosting us and everyone in Montreal for the warm reception as always. Credits:Filmography - Adrian VillagomezMusic - Max Cooper, maxcooper.netVisuals - Architecture Social Club, architecturesocialclub.co.ukAll video & audio copyright is owned by Max Cooper - no use without permission
Max Cooper - Pulse at the Centre of Being (Official video by Tsz-wing Ho) Max Cooper 2023-05-30 | ► Stream / Double LP vinyl / Blu-ray / Merch: ffm.to/unspokenwords_.oyd ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpMax Cooper: This piece of music was a mechanism to reset to what felt like some core state. It was the feeling of being, minus all the mess that gets added over the years, and I tried to communicate that childlike aspect to it as honestly as I could. So, it’s a very simple piece of music, and one where I’ve added a lot of space around the core pulse so that it’s soft and wraps around you as the listener.The visual reference I had for the project was a pulsing core of our perception of feeling at the centre of our body. Tsz-wing explored the idea with hand drawn animations, playing on the ideas of simple human expression, with pulsing growth stemming from our skeletal structure as some sort of source of our experience. It’s a chapter of the story where we escape the more troubled self-analysis of earlier sections and set the scene for the ending.The spatial audio mix with Joe Wilkinson follows the theme of a central pulse, expanding and pulsing towards and past us as the listener, when the person on screen starts to grow outwards.CREDITSMusic: Max Cooper, maxcooper.netVisuals: Tsz-wing Ho wing12381.myportfolio.comLabel: Mesh, meshmeshmesh.netAll video & audio copyright is owned by Max Cooper - no use without permission
Max Cooper - Small Window On The Cosmos (Official Video by Thomas Vanz) Max Cooper 2023-04-25 | ► Stream / Double LP vinyl / Blu-ray / Merch: ffm.to/unspokenwords_.oyd ► Sign up & join Mesh Discord: https://os.fan/MaxCooper/SignUp► More project info: unspokenwords.net/integrationMax Cooper: The final chaoter of the Unspoken Words Atmos film, now we look outward and the narrative is completed as the emergent mind returns to its home in the wider system that created it. I was trying to communicate the feeling of perspective with the music. Us, as individuals, as a tiny speck looking out into the vastness, but also, occupying it.It was written with this theme for a reason, having originated from a very unusual job. I was asked to make music for a UN summit focused on climate action, where world leaders would sit with eyes closed and listen to the piece. It was the Trump era at the time, and so my task was how to bring the giant egos into check, how could I make them feel small and the natural world feel relevant? Of course I would have failed, and in the end the brief changed (resulting in the “Imagine for 1 minute” project with Pope Francis, Greta Thunberg and others narrating), but I was left with this piece of music which I had a approached from a very particular perspective which lent itself to the Unspoken Words project and the closing sequence of the film version of the album.I was extremely happy to find out that my long term collaborator and master of epic scales, Thomas Vanz, was interested in the idea and the piece of music. Thomas created a continuation of the story from our “Hope” collaboration (from the album/project ‘One Hundred Billion Sparks’)*, which looks at internal neuronal processes, finishing with the eye. Now we start with the eye where that left off, and look out of the body into the vastness as only Thomas can, with his secret concoctions of chemicals yielding chaotic fractal processes which tie the aesthetics of the micro to the macro scales of our surroundings.*("Hope": youtube.com/watch?v=-eZLJLVqWwM)The story of Unspoken Words ends with our final expansion, and a fictional resolution to the human condition of escaping all constraints.CREDITS: Music: Max Cooper, maxcooper.netVisuals: Thomas Vanz, thomasvanz.comLabel: Mesh, meshmeshmesh.net
Max Cooper - A Model Of Reality (Sebastien Veyan Remix) Max Cooper 2023-02-01 | ► Stream 'A Model Of Reality Remixes Collection': ffm.to/modelofreality► Stream / Double LP vinyl / Blu-ray / Merch: ffm.to/unspokenwords_.oyd ► Sign up & join Mesh Discord Community: https://os.fan/MaxCooper/SignUpWe (at Mesh) are pleased to present to you the stunning remix and video created by musician and visual artist, Sebastien Veyan. Taken from the "A Model of Reality" remixes creative challenge that took place on our Mesh Discord community. Mesh is a platform that explores the intersection of music, science and art. We opened the community on Discord to create a space for people to come together, share life, work, ideas and make connections. ‘'Creative Challenges” were conceived of by the community as an opportunity to focus activities around a theme. In August 2022, Max Cooper gave away the stems to 'A Model of Reality' for anyone in to make a remix. Unbounded by rules and conventions and welcoming any kind of artistic expression. Alongside the musical works, artistic responses including video, installation, animation, interactive AR, generative and procedural creative code-based visual art and poetry. This VA compilation of some of the musical reworks, features 10 tracks from new and emerging artists that have been curated by Mesh and Max Cooper from the entirety of submissions which can be found at meshmeshmesh.net/a-model-of-reality The collection evokes a multitude of moods and styles from Sebastien Veyans’ scintillating chopped vocal ballad to Jan Steiners’ melodic opus designed whilst looking out onto Sligo’s coastline. Then we veer onto Odalies’ post-classical, pre-apocalyptic rewire, and Firephly’s trippy dreamscape audio sculptures from North California. This diverse release flows from the original concept of Cooper’s Unspoken Words project, enabling others to have a voice by releasing a collection of personal and intimate expressions, submitted with no prior expectation of official release like this, and oozing with authenticity and love for music and human expression as a result.To join the Discord community, visit: https://os.fan/MaxCooper/SignUpMax Cooper: We started the Mesh Discord community a year ago to open up our interests and work. This beautiful collection of music, videos, poetry, code art and interactive remixes is a small window onto the goings on there. It’s an exciting community to be part of, massive thank you to everyone who created their own take on my project with Kotomi. There was so much to try and choose from and a lot of gems beyond what is on this official release package. But most of all, it's just really refreshing for me to hear a collection of music which is all made for the best possible reasons, the love and care and passion is palpable, it's an amazing collection of work which I'm really happy to be a part of.Sebastien Veyan:"'When thinking of reality, there’s a subjective element that we, as humans, project around us. I wanted to break away from this, and give a voice to the inanimate, the natural and urban world that influences our experience of reality. Reflections served as a core concept of the visual interpretation. Everyone can look at the same reflection, yet see something entirely different, all due to the perception of what intrigues us about the reality we want to experience.During the development of the video, I had started to explore the use of real-time visuals, as a way to virtually experience the reality I was building. Iterating with different camera perspectives in Unreal Engine and having immediate visual feedback, immersed myself in this concept of seeing a seemingly urban brutalist form. Every window reflection offered a myriad of possibilities to encounter these perspectives of reality - no longer was there a single voice experience, but rather an accumulative dialogue of the world around, through the lens of the urban forms.The 3D environment was initially developed in Houdini, taking advantage of the node based workflow to create quick iterations of form throughout, and then imported to Unreal Engine to allow for this experimentation. The selected cut of the visuals aimed to serve as a narrative alongside the remix, where our subjective outlook of reality becomes more defined by possibility and things beyond reality. By the end, it unravels itself into the world around, projected into a form that could only exist in imagination - the model of reality that we wish to see.'
Max Cooper - A Model Of Reality (Official video by Eris is Red) Max Cooper 2023-01-26 | ► Stream / Double LP vinyl / Blu-ray / Merch: ffm.to/unspokenwords_.oyd ► Sign up & join Mesh Discord: https://os.fan/MaxCooper/SignUpMax Cooper: This chapter of the Unspoken Words album story (unspokenwords.net) deals with the arrival of abstract thought as a tool for human expression, visualised by the artist Eris is Red. A hypnotic model of reality is created and explored, with reaction diffusion forms reminiscent of the real world, but never quite real. Familiar symbols are visually referenced as a tool for building and communicating abstraction and new ways of thinking from the ground up, with the new model of reality emerging as meaning emerges from the symbols of our language. I wrote the piece of music during some difficult times of isolation. It came from a live improvisation where I found a hypnotic repeating structure that made me feel the creation of something new and hopeful. It yielded an abstract space I became lost in for months. I came across the beautiful voice of Kotomi (Lauren Culjak) from the ending sequence of an episode of Rick and Morty (S4 E10), where she sings “Don’t look back” in collaboration with Ryan Elder. Something about her voice immediately grabbed me. It has a beautiful otherworldly quality to it which strengthened the feeling of the abstracted space I was trying to create. And I was surprised and happy to find that she was interested in working together on the track, and ok with me mangled her voice into granular oblivion to try and capture the feeling of human expression without the literal restrictions of lyrics. The Dolby Atmos mix for the Blu-ray/Atmos streaming version, was created together with Adam Hare and Niels Orens, focusing on an organic slow moving and inviting space for becoming lost inside, without rigid structures, and lots of improvised paths of sounds through space, in line with the feel of the original piece of music.Eris is Red: "Wittgenstein's concept of Sprachspiel, or Language Games, describes the fluid nature of how we communicate and how it contextually based and can change the very reality we experience. The organic and ever changing nature of the visuals is intended to represent that core base of our collective reality. The beautiful abstract motion of reaction-diffusion felt the right fit to communicate that concept.When I was contacted by Max for this project I had been experimenting with a technique of creating animated 2D greyscale image sequences that were then used to drive both 3D displacement as well as material mixes. One side effect of the process is a certain 'banding' that occurs when the bit depth is limited and there is not enough information to have a smooth gradient between the values of black and white, this artefact is usually undesirable, however with the pulsing hypnotic melody of the song I was able lean into it and it became part of the art direction.After the initial displacement maps were created, they were imported into Cinema 4D, where I displaced flat planes and other objects and did countless experiments of mixing and blending the maps and clamping values to drive material mixes based on the topology. Throughout the process I used both Cycles4D and Redshift to render."Two of the development software tools I used extensively in the process were: Visions of Chaoshttps://softology.pro/voc.htmand Tim Hutton, Robert Munafo, Andrew Trevorrow, Tom Rokicki, Dan Wills."Ready, a cross-platform implementation of various reaction-diffusion systems."github.com/GollyGang/ready---------------------------------------------------------------------------------------------------------------------------------------------------CREDITS: Music: Max Cooper, maxcooper.netVisuals: Eris is Red, https.//instagram.com/erisisredLabel: Mesh, meshmeshmesh.netAll video & audio copyright is owned by Max Cooper - no use without permission
Max Cooper - Unspoken Words (Official video by Thomas Blanchard) Max Cooper 2023-01-17 | ► Stream / Double LP vinyl / Blu-ray / Merch: ffm.to/unspokenwords_.oyd ► Sign up & join Mesh Discord: https://os.fan/MaxCooper/SignUp► Tour dates: maxcooper.net/eventThanks watching - this video is part of the audio-visual project 'Unspoken Words' - a collection of 13 films. To find out about the wider project, please visit unspokenwords.net/.Max Cooper: This chapter shows the beginning of abstract human expression, but with an emphasis on what is hidden as much as what can be expressed. The visual artist Thomas Blanchard used smoke, inks and darkness to shroud the dancer Louison Valette as a means of making her expression partly ambiguous. The idea was to show how we can try to communicate but are always limited, and full of uncommunicable information.Similarly, I used the piece of music to capture something simple but almost inexpressible. It came from an improvisation session where I was playing very freely and trying not to let my conscious thoughts get in the way of the process. It’s an attempt to express the nature of being, which is something ineffable that seems to escape words but which can be put into music. This isn’t a new idea, the historic text of the Tao Te Ching already describes the situation as “The Tao that can be told is not the eternal Tao. The name that can be named is not the eternal name.” So more than 2500 years ago people were already onto the idea that words cannot capture all there is.The approach musically uses very few notes and elements, it is mainly just a single chord sequence, yet despite this, for me at least, it holds a lot of ideas and feelings. It uses broken expectations to reference the beauty of imperfection, setting up typical harmonic progressions but not fulfilling or repeating them, and instead adjusting them in slightly unusual or “wrong” ways towards new forms, but without becoming obtuse, and while trying to maintain peace. It is representative of how music can efficiently balance factors in a way that life does, but which is hard to capture efficiently with language.For the spatial mix with Will Cohen, we opted to leave the screen and the dancer empty of music, with the music only coming from around them, to further link to the idea of our unspoken words and what cannot be directly communicated. For every piece of music we tried to link the Dolby Atmos spatial design to the concept of the music and visual, as well as its more literal mapping of syncing on screen visuals to sound positions.Thomas Blanchard:I wanted to create an analogy with the sizes. I wanted to reverse the size ratios. The liquids filmed macroscopically take up a lot of space and the dancer seems very small. The film represents human thought. For me "unspoken words" represent small problems that we have never solved because we have never dared to speak about it to our friends, to our family. These little problems end up taking up a lot of space in our heads. It's like a conflict inside. This film is a demonstration of what human brains can be. The dancer represents our thought. The inks represent the unspoken words. The black space represents the interior of our brain and the fog represents the doubt, the lack of visibility on our interior conflicts. This film is made with a dreamlike point of view. It is an imaginary construction of the pathology of the brain.CREDITS: Music: Max Cooper, maxcooper.netVisuals: Thomas Blanchard, thomas-blanchard.comLabel: Mesh, meshmeshmesh.netDancer: Louison Valette Director of photography: Jérémy VessigotAll video & audio copyright is owned by Max Cooper - no use without permission
Max Cooper - Stream of Thought - Official video by Optical Arts Max Cooper 2022-12-28 | ► Stream / Double LP vinyl / Blu-ray / Merch: ffm.to/unspokenwords_.oyd ► Sign up & join Mesh Discord: https://os.fan/MaxCooper/SignUpMax Cooper: This music video project is the first chapter from my Unspoken Words film/Atmos blu-ray explained over at http://www.unspokenwords.net - The visual story begins with a natural analogue for thought. A slitscan view of the mechanics of matter and time as we see rupturing objects reminiscent of branching neural pathways.The music originated from my attempt to capture a free-flowing stream of thought, to communicate the free thinking, ideas generating state. My work relies as much on this process as it does on rigorous logical thought, and I wanted to try and capture the free part without much subsequent editing. With the meandering development of themes, and changes of direction, like a stream.I was interested in a visual analogy of the theme, and started chatting to Optical Arts studio in London about the possibility of creating a branching process using slit scan photography and object smashing. The idea being that something like a branching network of neural activity, and some foundations of the physicality of thought in the album story, could come from smashing a vase (or any other object) and making every fragment trace a path through space as they flew from the point of impact.It was a big technical challenge, but Optical Arts had prior experience with smashing things on film, along with an amazing team of creatives and editors, and they pushed the idea to great heights using light sources as impact sites and all sorts of trickery, all synced beautifully and painstakingly to the musical elements. It was a treat getting to work with Optical Arts on this, and seeing their creation process and attention to detail. Many thanks to everyone at Optical Arts, and particularly Joe Jackson, Hannah May, Elliot Lowe, Jamie-Lee Harding, Greg Hayes, Martin Pryor, Miguel Wratten and Ben Gallagher.Also big thanks to Lawrence Kendrick and Niels Orens who I worked with on the spatial audio mix, mapping the positional information and flow of sounds to the structures of the video sequence. You can hear that via the Apple Music Atmos stream, or the Atmos Blu-ray.CREDITS: Music: Max Cooper, maxcooper.netVisuals: Optical Arts Studio, https://opticalarts.studio/Label: Mesh, meshmeshmesh.netCreative Direction & Production: Optical Arts @opticalarts.studioArt Direction & Photography: Joe Jackson @jag.jackson Executive Producer: Hannah May @hannahannahmayCamera: Elliott Lowe @elliott_lowe Styling: Jamie-Lee Harding @jamieleehardingEditor: Greg Hayes @greghayeseditsColour Grading: Martin Pryor @m.artin.pryor2D Supervisor: Miguel Wratten @miguelwratten2D Artist: Ben Gallagher @ben_gallagher25All video & audio copyright is owned by Max Cooper - no use without permission
Feb tour dates around the British Isles, hope you can make it - get tickets at maxcooper.net/event Max Cooper 2022-12-16 | ...
Max Cooper - Inanimate to Animate (Official video by Jip Mus) Max Cooper 2022-12-08 | ► Stream / Double LP vinyl / Blu-ray / Merch: ffm.to/unspokenwords_.oyd ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpMax Cooper: With nature’s scene set, we now venture into the strange boundary of living and dead. The dynamism, determinism and energy gradients of the environment harnessed for self-replication in organisms which appear as much inanimate natural process as animate life. But complexity grows, and we are on the trajectory towards sentience in the visual story.The musical starting point of this project was that of boundary conditions, and the musical escapism into a surreal boundary between wakefulness and dreaming. I continued to explore themes of boundary conditions with Jip Mus for the visual interpretation, where Jip delved into the mechanics of life, with self-made growth media, micro-organisms and micro-cinematographic experiments.The vocalist and musician Kotomi, who has a beautifully ethereal voice, brought the project to life perfectly. Not via lyrics and a loud human presence, but with the voice as an instrument, blending her feeling into the wider experience.For the spatial audio mix with Adam Smythe and Niels Orens, we created partially randomised and freely improvisated structures. Using smooth movements and a balance of order and disorder spatially to mirror the ideas of the chapter.The previous collaboration with Max on the ‘Reflect’ film was choreographed by the different shapes water would take when shifting in states of aggregation. This natural growth was one of the starting points for ‘Inanimate to Animate’ as well. Jip Mus: This is a story about the boundary between life and non-life. A film about the continuation of species, where we see different cells and organisms increase in an almost rhythmic and pulsating way. Getting the right amount of abstraction and dream-state in the visual approach was the challenge for this project. The organisms we see are super abstract, we recognise them as being from a natural world but also can’t quite place them within our frame of reference.This is also why working on a microscopic level is interesting to me, we usually can’t experience this complex dimension. Everything you see in the film is ‘living’.It is questioning our definition of intelligence and what we define as a living organism. It’s amazing how much I have learned about biology and our (micro) universe and I am incredibly thankful for the people that helped me during this project. I hope you can enjoy our work, and that it might bring back some fascination for the natural world around us. CREDITSMusic: Max Cooper, maxcooper.netVisuals:Jip Mus, https://jipmus.nl/Label: Mesh, meshmeshmesh.netAll video & audio copyright is owned by Max Cooper - no use without permission
Max Cooper - Ascent - Official video by Martin Krzywinski Max Cooper 2022-10-20 | ► ASCENT digital art collection: objkt.com/collection/KT1Hh24GEmhWeKKnBzkJmr9HPB34uFuFs8EA ► Buy merch / vinyl / Blu-ray: ffm.to/unspokenwords_.oyd ► Sign up & join Discord: https://os.fan/MaxCooper/SignUp MAX COOPER:This audio-visual project with Martin Krzywinski came from site specific feelings and ideas. Initially St Michielskerk Leuven, and then Herodes Atticus amphitheatre at the Acropolis in Athens, where the project had its first two outings into the world. I was trying to capture the uncapturable idea of transcendence. It needed to ascend further than anything I had made before. I tried to keep it as simple as possible to focus on the power of what would yield that experience, the synth chords and timbre. I kept the chord progression fairly loose so as not to fall into obvious repeats, and constantly modulated it higher as the many layers of screaming distortion built along with some bass wave interference which gives some extra low body shaking effect if you listen with good bass response or a sub-pac. The initial installation version was built with beds containing low frequency shakers so you would lie down and have your whole body vibrated as you looked up into the ceiling of the cathedral, for something like a weightlessness effect.In order to create transcendence visually, I chatted to Martin about two techniques which I felt would provide a fittingly intense and overwhelming analogy. An ascent in spatial dimensionality, combined with a mapping of the digits of a transcendental number. We are used to living in 3-dimensions of space, but we can construct models of worlds in whatever number of spatial dimensions we want. Martin coded a system to start from a 1-dimensional point and smoothly transition up to 5-dimensions of space, alongside creating a tree map of the digits of pi, similarly to our old Transcendental Tree Map project from Yearning for the Infinite album, but now mapped to the surfaces of 5D hypercubes. Needless to say it goes heavy on the visual barrage, peaking in noise, just as the music does....an epic visual job from Martin!Thanks for having a read and a look and listen. If you want to find out about wider Unspoken Words project this is part of, please visit unspokenwords.net/.MARTIN KRZYWINSKI:The scene takes place on a 5-dimensional stage, which is projected onto two dimensions for display. Initially, all dimensions are collapsed.Initially, the first dimension grows to form a line. Then the second to form a square and the third to form a cube. When the fourth dimension is introduced, it has the effect of creating what appears to be two copies of the cube. The cubes are slowly joined by lines, which represent the edges in the fourth dimension. This is followed by the appearance of the fifth dimension and edges that connect to it.A 5-dimensional cube (en.wikipedia.org/wiki/5-cube), or penteract, has 32 vertices and 80 edges, 80 2-dimensional faces, 40 3-dimensional faces and 10 4-dimensional (tesseract) faces. As the 5-dimensional cube rotates, you can get a glimpse of its lower-dimensional components, like 3-dimensional cubes coming in and out of focus.Individual faces of the 5-dimensional cube are traced out and split off from the cube to form 5 independently rotating cubes. The scene itself rotates throughout the clip in 5-dimensions.Outlines of tree maps of the first approximation of Pi (22/7) start appearing on various faces of these cubes. For more details about these maps, see maxcooper.net/transcendental-tree-mapThe corners of each cube begin to be filled in — there are 5 axes at each corner. We can see the planes at these corners shrink and grow as the cubes and scene continue to rotate in 5-dimensions. In color versions of this video, the color of each plane encodes its position in the third dimension, which can be thought as in/out of the screen.Next, tree map segments for the next approximation of pi (179/57) are projected and grow on the faces of four new 5-dimensional cubes. The scene evolves towards a specific rotation in 5-dimensional space that temporarily reduces the complexity of the elements on the screen. Further rotation changes the point of view and we see the complexity of everything again.For the finale, another four cubes are added to the scene with tree maps of the digits of Pi. The scene now contains 13 5-dimensional cubes independently rotating, with continuous changes to the scale of each dimension. The number of individual elements on the scene grows so large as to render a scene that is essentially noise.The scene ends with all 5 dimensions collapsing. As elements shrink, we glimpse the entirety of the stage before it fades away.CREDITSMusic: Max Cooper, maxcooper.netVisuals: Martin Krzywinski, http://mkweb.bcgsc.caLabel: Mesh, meshmeshmesh.netAll video & audio copyright is owned by Max Cooper - no use without permission
Max Cooper - Dolby Atmos Unspoken Words Interview with String and Tins Max Cooper 2022-10-07 | ► Stream Unspoken Words / Atmos Blu-ray / Merch: ffm.to/unspokenwords_.OYD► Sign-up for tour updates: https://a.os.fan/MaxCooper/SignUp► Subscribe to channel: https://MaxCooper.lnk.to/SubscribeI love working with immersive audio, but it all went to a new level with the collaboration with String and Tins studio and Niels Orens on Unspoken Words. We chatted through the visual and musical concepts of every track from the album and planned a moving spatial structure for each which could enhance their individual stories, and we also added spatial as well as SFX sync to the music videos, with happenings on screen corresponding to new musical elements not present on the stereo mixes. We also created specific immersive audio mixes for both theatrical and streaming platforms, with the theatrical mix for the Blu-ray and cinema screenings containing more screen orientation and design for large speaker arrays, and the streaming spatial audio mix optimised more for home systems with audio only (for streaming in Atmos via digital service providers) and optimised for headphone playback where the Dolby Atmos mix is presented binaurally, ideally with head tracking via the latest headphones to allow for a more dynamic immersive audio experience. This new way of consuming Atmos content via headphones with head tracking was particularly interesting for us, and we designed some pieces of music on the album which would take advantage of the format to sound very different depending on which direction you face during listening. In this way, the music takes on a new, interactive format, where your head direction will influence how the music sounds and you can direct the music to some extent. For example, with Spectrum, we have stereo fields inside the Atmos mix, which are aligned at 90 degrees to each other, so if you face one direction you hear the full stereo effect of one musical element, with another's stereo field in front and behind so it sound more or less mono, but if you turn your head 90 degrees the mono signal opens up to stereo, and the previous stereo signal folds down to mono, radically changing the overall experience of the music and which elements are most pronounced and detailed.There was so much love and work that went into every piece of music on there, and needless to say we had a load of fun with the whole thing. I hope you can hear some of the spatial ideas we put in there. I'll be chatting about more tracks and mixes in detail over coming months. Massive thank you to everyone at String and Tins, and Niels Orens for the huge job that went in to this whole process. Below is a full list of the engineers for each track, they all do amazing work I'd recommend checking them out.Film Directed by: Jon BilbroughCamera: Ian Oakley, Whitestone MediaExecutive Production: James Palmer-Bullock, The Wild SeedsSpecial thanks to Dolby London for the use of their studio, Anthony Faulkner at Mesh, The Wild Seeds, all the amazing artists involved in the project and everyone at String and Tins.Unspoken Words Dolby Atmos Mixes by String and Tins with Max Cooper and Niels Orens. Sound Supervisor: Will Cohen Mix Technician: Kaspar Broyd Producer: Charlie Howard Chapter 1 - Foundations Music: Max Cooper - Stream of Thought Atmos Mix Engineer: Lawrence KendrickChapter 2 - Self Organisation Music: Max Cooper - Inanimate to Animate feat. Kotomi Atmos Mix Engineer: Adam SmythChapter 3 - Awakening Music: Max Cooper - Spectrum Atmos Mix Engineer: Will CohenChapter 4 - Expression Music: Max Cooper - Unspoken Words Atmos Mix Engineer: Will CohenChapter 5 - Abstraction Music: Max Cooper - A Model of Reality feat. Kotomi Atmos Mix Engineer: Adam HareChapter 6 - Limits Music: Max Cooper - Symphony in Acid Atmos Mix Engineer: Kaspar BroydChapter 7 - Quantisation Music: Max Cooper - Solace in Structure Atmos Mix Engineer: Lawrence Kendrick Chapter 8 - Mechanisation Music: Max Cooper - Broken Dreams Broken Machines Atmos Mix Engineer: Culum SimpsonChapter 9 - Transcendence Music: Max Cooper - Ascent Atmos Mix Engineer: Jim StewardChapter 10 - Exploration Music: Max Cooper - Exotic Contents Atmos Mix Engineer: Mike Bamford Chapter 11 - Growth Music: Max Cooper - Pulse at the Centre of Being Atmos Mix Engineer: Joe WilkinsonChapter 12 - Realisation Music: Max Cooper - Everything Atmos Mix Engineer: Culum SimpsonChapter 13 - Restoration Music: Max Cooper - Small Window on the Cosmos Atmos Mix Engineer: Adam Smyth
Max Cooper - Live at the Acropolis Max Cooper 2022-07-06 | ► Sign-up for tour updates: https://a.os.fan/MaxCooper/SignUp► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe► Listen and download 'Live at the Acropolis' on Bandcamp and streaming services: ffm.to/liveattheacropolisMax Cooper's performance at the Acropolis on 6 July 2021 was filmed during Athens Epidaurus Festival in association with Plissken Festival and produced by Stabal TV.Max was the first techno/electronic artist to perform at the 2000-year-old Odeon of Herodes Atticus on the UNESCO-protected site of the Acropolis in Athens, Greece.Built in 161 AD on the site regarded as the birthplace of modern thought, yielding ideas that have inspired much of Cooper’s work, his hypnotic optics were be projected on the walls of the ancient monument. Max Cooper says, “Over the years I have developed my live visual to show to work with spaces, rather than just, in spaces, so that the architecture and beauty, history of the place becomes as much a part of the show as my music and visual collaborations. I'm aiming to make a spectacle of the theatre, and to complement it with my work as best I can.” ► Read more from Max about the experience at maxcooper.net/acropolisThanks to Stabal, Athens Epidaurus Festival, Plissken Festival, The Wild Seeds, LittleBig and the Ministry of Culture and Sports – Ephorate of Antiquities of the City of Athens, and all the artists who's work features in the performance.► Tour dates: maxcooper.net/eventMUSIC [] VIDEOS:Intro - Max Cooper Porous Space - Max Cooper feat. Samad Khan [] Memories - Roman De GiuliUntitled I - Max Cooper [] Penrose Tiling - Jessica InTranscendental Tree Map - Max Cooper [] Transcendental Tree Map - Nick Cobby & Martin KrzywinskiSymmetry - Max Cooper & Tom Hodge [] Symmetry - Kevin McGloughlinLeaving This Place - Max Cooper [] Leaving This Place - Jazer GilesWaves - Max Cooper [] Waves - Kevin McGloughlinOrigins - Max Cooper [] Origins - Rabbit Hole & Black BoxSpike - Max Cooper [] Spike - Yoshi SodeokaHope - Max Cooper [] Dividing Surfaces - Andy LomasReciprocity - Max Cooper [] Reflect - Jip MusUntitled II - Max Cooper [] Order from Chaos - Maxime Causeret / Organa - Sabine VolkertHanging D - Joep Beving (Max Cooper remix) [] Repetition - Kevin McGloughlinPenrose Tiling - Max Cooper (Max Cooper remix) [] Platonic - Páraic McGloughlinRealign - Henry Green (Max Cooper remix) [] Veil of Time - Kevin McGloughlinPerpetual Motion - Max Cooper [] Perpetual Motion - Nick Cobby / Ghosts - Kevin McGloughlinIdentity - Max Cooper [] Swarm The McGloughlin BrothersUntitled III - Max Cooper [] Ascent - Martin KrzywinskiCREDITS:James Palmer-Bullock - Executive ProducerSteve Odart - Executive ProducerDoug Ross - Executive ProducerMax Cooper - ProducerJames Matthew Green - Creative DirectorDimitris Kotselis - DirectorDimitris Kasimatis - CinematographerPhilip Zamidis - Camera OperatorAlexis Iossifidis - Camera OperatorMax Cooper - MasteringChris McCormack - MasteringOakley Moffat - EditorOakley Moffat - ColouristBrett Allen - Post-Production ManagerPerry Dorain - Post-Production Co-ordinatorRobbyn Snow - Content ManagerAnthony Faulkner - Label ManagementManners McDade - PublishingThe Wild Seeds - ManagementFOLLOW:Max CooperWebsite: maxcooper.netInstagram: instagram.com/maxcoopermaxYouTube: https://MaxCooper.lnk.to/SubscribeTikTok: tiktok.com/@maxcoopermaxDiscord and subscribe for mailer news and exclusives: https://os.fan/MaxCooper/SignUpMesh Website: meshmeshmesh.netInstagram: : instagram.com/meshmeshmesh_All video & audio copyright is owned by Max Cooper - no use without permission.
Max Cooper - Broken Machines Broken Dreams (Official video by Optical Arts) Max Cooper 2022-07-05 | ► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe► Buy 'Unspoken Words' on vinyl and Blu-ray: ffm.to/unspokenwords_.oyd ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpBroken Machines Broken Dreams. Procedural creation and physical destruction by Optical Arts. MAX COOPER:In this chapter of the Unspoken Words story I wanted to explore the beauty and form and feeling of physical mechanisation, and the limits of the machines where things start to strain and become more human. Optical Arts studio created this amazing video, built from machines building art. The cover image of the video is one of the pieces created during this process.I was interested in how straining machines can make them feel more human, pushing my synths to uncomfortable and chaotic behaviours and artefacts which for me were full of feeling, and I asked Optical Arts to try the same - you can see some examples of breaking drills and generally a process of creation via destruction. They did an amazing job precisely syncing the many layers of audio to the visual scenes, and making beautiful shots and art from the machines.Musically, I worked with feelings of playful creation and a touch of sadness. It was another example, as with Spectrum, where the words describing the piece don’t feel entirely correct, and don’t seem to be compatible, but again, can fit without contradiction emotively when communicated musically.► Visit Unspoken Words companion site: unspokenwords.netOPTICAL ARTS:The film explores notions of rhythm, consciousness and celebrates the freedom in losing control; the beauty of deciding one's own path.We are often consumed by the monotony and repetitive nature of everyday life. ‘Broken Dreams, Broken Machines’ portrays the idea that if we decide to let our imagination and thoughts run wild - we could find a new comfort and rhythm in the freedom of it. In Max Cooper’s words: ‘it is about letting go and accepting a slightly odd yet harmonic resolution’.To visually address these themes we used CNC machines. What happens when computer numerically controlled machines, the most methodical, repetitive and controlled instruments, start to daydream?CREDITSConcept: Max CooperMusic: Max CooperLabel: MeshCreative Direction & Production: Optical Arts @opticalarts.studio https://opticalarts.studio Direction & Design: Joe Jackson @jag.jacksonExecutive Producer/Producer: Hannah May @hannahannahmayLine Producer: Rebecca Scheinberg @rebeccascheinburgProduction Assistant: Minna Griffiths @minna_griffithsDOP: Elliott Lowe @elliott_loweStyling: Jamie-Lee Harding @jamieleehardingSFX: Joe Yabsley for Asylum @j_yabsley @asylumsfxEditor: Xavier Perkins @exceedaColour Grading: Martin Pryor @m.artin.pryor2D Supervisor: Miguel Wratten @miguelwratten 2D Artist: Ben Gallagher @ben_gallagher25Sculpture Design: Fabrice Le Nezet @fabricelenezet, Leon Seith @leon.seithCAD Artist: Max Johnson @max_jhnsnFOLLOWMax CooperWebsite: maxcooper.netInstagram: instagram.com/maxcoopermaxYouTube: https://MaxCooper.lnk.to/SubscribeTikTok: tiktok.com/@maxcoopermaxDiscord and subscribe for mailer news and exclusives: https://os.fan/MaxCooper/SignUpMesh Website: meshmeshmesh.netInstagram: : instagram.com/meshmeshmesh_All video & audio copyright is owned by Max Cooper - no use without permission.
Max Cooper - Behind the curtain | O2 Academy Brixton London (pre-sale tickets) Max Cooper 2022-07-03 | * Sign up to access tickets: https://lwe.events/maxcooper *A short film looking behind the scenes of the creative process in preparation for the 3D/AV London show on 29 October, shot during the first site visit to O2 Academy Brixton.If you can't make London, let me know where you are in the world - https://os.fan/MaxCooper/SignUp - and we’ll work to bring the tour near you.* Film made by @wilderthorn
Max Cooper - Solace In Structure (Official video by Donato Sansone) Max Cooper 2022-06-08 | ► Subscribe: https://MaxCooper.lnk.to/Subscribe► Buy 'Unspoken Words' on vinyl and Blu-ray: ffm.to/unspokenwords_.oyd ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpMAX COOPER:I find that abstract structures can be a beautiful place to escape to. That’s why I put a lot of binaural elements in my stereo mixes, and pursue Atmos and full spatial mixes whenever I can. I want to create a surreal space that surrounds you as the listener, and takes you away from everyday experience. ‘Solace In Structure’ is the latest visual project from my album ‘Unspoken Words’ where I was trying to express feelings and ideas outside of language. This chapter uses many layers of sounds, constrained to a precise rhythmic grid. It was designed for escapism amongst dense rigid complexity. It may not be for everyone, but I had a lot of fun making it.For the visual treatment, I chatted about the idea with Italian artist Donato Sansone, and in collaboration with Marco Holland and Silvia Gariglio, they embarked on a painstaking hand drawn mapping of geometric structures to the elements of the music. I love how the visual interpretation plays on the rigidity and precision of the musical approach, as well as the humanised notation and thought surrounding the structures. For me, it’s a perfect interpretation of the music in the visual realm.► Visit Unspoken Words companion site: unspokenwords.netDONNY SANSONE: I have always loved electronic music and when I was contacted by Max to make a video for one of his music pieces I did not hesitate 2 seconds to give my availability to the project. I wanted to create something I had in mind for a while and with max I saw the opportunity was to build a video using traditional animation techniques and therefore a lot of what you can see was drawn entirely by hand, frame by frame, on elements then built in computer graphics and partly also with 3D after-effects. In short, it is a form of manual rotoscope on animated elements in CGI and the result was quite interesting in my opinion. To create this video I called upon the collaboration of two great artists named Marco holland and Silvia Gariglio. Marco was fundamental in the contribution in CGI, in the construction of the elements and animations in computer graphics and Silvia in the manual colouring of some scenes of the video.CREDITSVideo: Donato Sansone, Marco Holland, Silvia GariglioMusic: Max CooperLabel: MeshFOLLOW:Max CooperWebsite: maxcooper.netInstagram: instagram.com/maxcoopermaxYouTube: https://MaxCooper.lnk.to/SubscribeTikTok: tiktok.com/@maxcoopermaxSubscribe for mailer news and exclusives: https://os.fan/MaxCooper/SignUpMesh Website: meshmeshmesh.netInstagram: : instagram.com/meshmeshmesh_All video & audio copyright is owned by Max Cooper - no use without permission.
輪郭-Contour- Interview with Max Cooper by WOW | Vol.3 (3/3) Max Cooper 2022-06-06 | 2021年に公開したWOWのオリジナルショートフィルム作品「輪郭-Contour-」が、第43回を迎えるアメリカのTelly AwardsでNon-Broadcast-CraftのVisual Effects部門とArt Direction部門で銀賞を受賞。2022年2月中旬、WOWはオンラインでコラボレーターのMax Cooperへインタビューを実施。科学博士号を持ち、エレクトリックミュージックの第一人者として世界的な評価を得ているオーディオ・ビジュアルアーティストMax Cooperの創作活動に対する姿勢や、制作アプローチ、「輪郭-Contour-」制作時の振り返りなどを探る。全3回。WOW released our original short film “Contour” in 2021 and it won two Silvers at the 43rd Annual Telly Awards in Visual Effects and Art Direction of Non-Broadcast-Craft. In mid of February 2022, WOW had an online interview with our collaborator Max Cooper, an audio/visual artist with a Ph.D. in science and an international reputation as a leading figure in electric music. We explored how he approaches his creation, his attitude toward the works, and the backstory of the sound design from “Contour.” This interview concludes in three episodes.輪郭-Contour- ▶ youtu.be/Up3iYPdVi88Max Cooper▶ youtube.com/user/maxbcooperInterview with Max Cooper by WOW | Vol.1▶ youtu.be/V-tPwWSPsMgInterview with Max Cooper by WOW | Vol.2▶ youtu.be/4EUnRc-i308=======00:00 イントロ / Introduction00:17 Q: 技術・メディアの進化による自身の表現の拡張を感じますか？また、技術、ツール、メディアなどさまざまな選択肢がありますが、良い作品を作り続けるためにはどようなマインドセットを意識していますか？Q: There are many options for us which tool, technology, or media to be utilized for the creation, but how do you see the essential mindset to make the right choice for good works?03:52 Q: SNSの台頭により、作品発表の場も多様化してきています。作品と絡めたSNSの活用や、ファンとのコミュニケーションなど、普段気にしていることはありますか？Q: By the emergence of social media, the platform to showcase our works has been diversified. Do you have any thoughts on how you use social media or communicate with your fans through the social media?08:04 Q: 技術の進化により、映像や音楽など、多くの人が気軽に制作できるようになってきました。Maxは音楽以外の表現方法、例えば映像などを自身で制作する日が来ると思いますか？Q: Thanks to the development of the technology, there are easy access to create music, videos, and so on for everyone. Do you think you will create somethig different such as movies by yourself in the future?09:52 Q: どのような経緯で音楽と科学を融合させることになったのでしょうか。Q: How did you come up with fusing science and music in your works?14:57 Q:最近ハマっている映画などはありますか？Q: Is there any movie that you find interesting recently?16:45 Q: 作曲する上で日々の生活で行っているインプットはありますか？Q: Is there anything you are trying to input in your daily life?20:25 Q: 最後にご質問やコメントはありますか？Q: Do you have any comment?.................WOW inc. WOW Profile Links▶https://linktr.ee/wowinc#maxcooper #interview #audiovisual
輪郭-Contour- Interview with Max Cooper by WOW | Vol.2 (2/3) Max Cooper 2022-06-03 | 輪郭-Contour- Interview with Max Cooper by WOW | Vol.22021年に公開したWOWのオリジナルショートフィルム作品「輪郭-Contour-」が、第43回を迎えるアメリカのTelly AwardsでNon-Broadcast-CraftのVisual Effects部門とArt Direction部門で銀賞を受賞。2022年2月中旬、WOWはオンラインでコラボレーターのMax Cooperへインタビューを実施。科学博士号を持ち、エレクトリックミュージックの第一人者として世界的な評価を得ているオーディオ・ビジュアルアーティストMax Cooperの創作活動に対する姿勢や、制作アプローチ、「輪郭-Contour-」制作時の振り返りなどを探る。全3回。WOW released our original short film “Contour” in 2021 and it won two Silvers at the 43rd Annual Telly Awards in Visual Effects and Art Direction of Non-Broadcast-Craft. In mid of February 2022, WOW had an online interview with our collaborator Max Cooper, an audio/visual artist with a Ph.D. in science and an international reputation as a leading figure in electric music. We explored how he approaches his creation, his attitude toward the works, and the backstory of the sound design from “Contour.” This interview concludes in three episodes.輪郭-Contour- ▶ youtu.be/Up3iYPdVi88Max Cooper▶ youtube.com/user/maxbcooperInterview with Max Cooper by WOW | Vol.1▶ youtu.be/V-tPwWSPsMg=======00:00 イントロ / Introduction00:17 Q: 今回、WOWの「輪郭」に参加を決めてくれた理由はなんですか？Q: What made you decide to join this project?02:16 Q: プログラム系の作品と「輪郭」のような映像作品とでは、作曲アプローチに違いはありますか？Q: Is there any difference or influence on producing music between program-driven visualization and the one of narrative-driven like "Contour"?04:26 Q: 「輪郭」というタイトルを面白いと感じられたようですが、作曲に影響はありましたか？Q: It looked like you found the title "Contour" interesting. Did this word inspire you or have any influence on the sound somehow?.................WOW inc. WOW Profile Links▶https://linktr.ee/wowinc#maxcooper #interview #audiovisual
輪郭-Contour- Interview with Max Cooper by WOW | Vol.1 (1/3) Max Cooper 2022-06-02 | 2021年に公開したWOWのオリジナルショートフィルム作品「輪郭-Contour-」が、第43回を迎えるアメリカのTelly AwardsでNon-Broadcast-CraftのVisual Effects部門とArt Direction部門で銀賞を受賞。2022年2月中旬、WOWはオンラインでコラボレーターのMax Cooperへインタビューを実施。科学博士号を持ち、エレクトリックミュージックの第一人者として世界的な評価を得ているオーディオ・ビジュアルアーティストMax Cooperの創作活動に対する姿勢や、制作アプローチ、「輪郭-Contour-」制作時の振り返りなどを探る。全3回。WOW released our original short film “Contour” in 2021 and it won two Silvers at the 43rd Annual Telly Awards in Visual Effects and Art Direction of Non-Broadcast-Craft. In mid of February 2022, WOW had an online interview with our collaborator Max Cooper, an audio/visual artist with a Ph.D. in science and an international reputation as a leading figure in electronic music. We explored how he approaches his creation, his attitude toward the works, and the backstory of the sound design from “Contour.” This interview concludes in three episodes.輪郭-Contour- ▶ youtu.be/Up3iYPdVi88Max Cooper▶ youtube.com/user/maxbcooper=======00:00 イントロ / Introduction00:18 Q: 最後に打ち合わせをしたのはもう一年前ですよね。どのように過ごしていましたか？Q: It's been a year since the last time we talked. How have you been doing?00:48 Q: 新しいアルバム制作で忙しかったのではないですか？Q: You must have been busy working on the new album.01:19 Q: 新曲を聴きましたが、素晴らしいですね。細部まで作り込まれていて、エモーショナルでとても美しかったです。Q: The new tracks are amazing. They have so much details with full of emotions. Very beautiful.02:21 Q: Maxはさまざまな異分野のアーティストとコラボレーションされてきましたが、動機は何でしょうか。また、コラボによってどのようなことを期待していますか？Q: You have been working with various artists. What is the motive for those collaborations?06:32 Q: 映像と音楽を同時に制作されるようですが、どのようにバランスをとるのでしょうか。Q: You work on the music and the visuals simultaneously but how do you maintain the balance between those two?08:37 Q: コラボレーターは定期的に探しているのでしょうか？それともあなたのチームが探しているのですか？Q: Are you looking for a visual artist to collaborate with constantly? Does it come from your team?10:05 Q: オーディオビジュアル作品において、音を作る際に何かきっかけやヒントになるようなビジュアルイメージなどはありますか？Q: What could be a hint in visual images helping to create your sound for the audiovisual works?.................WOW inc. WOW Profile Links▶https://linktr.ee/wowinc#maxcooper #interview #audiovisual
Max Cooper - Symphony in Acid (Official video by Ksawery Komputery) Max Cooper 2022-05-12 | ► Subscribe: https://MaxCooper.lnk.to/Subscribe► Buy 'Unspoken Words' on vinyl and Blu-ray: ffm.to/unspokenwords_.oyd ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpMAX COOPER:This video is from my 'Unspoken Words' project, where I tried to express things with music and visual art which I could not put into words. I turned to the writing of Ludwig Wittgenstein, who tackled this issue of the problems with words and their inability to capture every aspect of our lives. It approaches issues of human expression and the links between our symbolism and existence, but does so in an incomprehensibly dense way, for me at least, which was ripe for presenting as art rather than a technical reading challenge. It's full of feeling and suggestion that we've played with here. The name, Symphony in Acid, references the combination of orchestral-like synths with 303-like synthesis of acid house fame. I was trying to merge some disparate ideas in the context of a highly dense and complex, but gridded and rigorous structure, one reminiscent of the Wittgenstein text. Ksawery did an amazing and painstaking job mapping every sound to text presentations & manipulations following the same principles. Each musical, visual and methodological unit is simple, but in concert the result is this complex information onslaught. I love the effect of trying to take in the meaning and messages of the project, particularly when presented on a big screen and sound system in live context. If you give yourself to it, it's a really intense experience with all the text meanings triggering a tapestry of mental responses. I apologise to non-English speakers though, I'd love to make multi-language translations of the project as well. Ksawery has also created a live rendering website version of the project at symphonyinacid.net where you can interact with the system and even have your own face rendered in Wittgenstein's words. If you would like to collaborate with us to create digital art with your own unspoken words you can submit those at unspokenwords.net► Provide your own Unspoken Words: unspokenwords.netThe final thing to note is that we added a couple of words at the start. Wittgenstein's statement that "The limits of my language mean the limits of my world" is one that I seek to refute with Unspoken Words.KSAWERY KOMPUTERY:Max suggested using discourses by German philosopher Ludwig Wittgenstein for the "Symphony in Acid" video right from the start. Wittgenstein’s subjects & conclusions serve as excellent extenders to the fundamentals of the "Unspoken Words" album. Especially in "Tractatus Logico-Philosophicus" (1921), he explores in depth the concept of limits of language. Wittgenstein investigates various aspects of language, from the atomic point of view (form) to the wide picture (content). The thinker famously stated: "The limits of my language mean the limits of my world." I tried to challenge that notion here in the field of visual art.I build most of my works with code. In this case, I chose a coding environment suitable for rendering typography – an element central to this project. Running code as a website, through a modern internet browser, became the perfect solution. I find the gap between hypertext & 100-year-old paper both significant & inspiring. With my former experience in commercial web development, it was fun & refreshing to use my tools from back then for this new approach.The dense soundtrack triggered my code in powerful ways. As I listen to it now, I can almost hear atoms interacting, gravitating towards each other to form an object, & then – a whole scenery. Such a wide perspective fuels the imagination & matches the logical-philosophical soul within Wittgenstein’s papers. The ever-evolving atmosphere also helps to create new systems, new scenes. The video starts with just a few letters, that build a word, then a sentence, & finally – whole blocks of text. Having said that, the meaning remains between the lines. The letters can’t exist solely for their form. Eventually, they have to carry information.We released the website simultaneously with the video as an integral part of the project. The final video shows a single recording of the website being browsed. For the nerds out there, interested in the programming aspect, you can easily access the source code. For a more immersive & playful experience, I added a few interactive options to play with visuals using your mouse & keyboard: symphonyinacid.netCREDITSVideo: Ksawery KomputeryMusic: Max CooperLabel: MeshFOLLOW:maxcooper.nethttps://ksawerykomputery.pl/ meshmeshmesh.netAll video & audio copyright is owned by Max Cooper - no use without permission.
Max Cooper - Unspoken Words (Official trailer) Max Cooper 2022-03-25 | Buy / stream 'Unspoken Words' on 12" double gatefold vinyl and Blu-ray: ffm.to/unspokenwords_.oydFurther information and AR exhibition at unspokenwords.net► Subscribe to Discord and mailer for community, news and exclusives: https://os.fan/MaxCooper/SignUp► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe ► Buy merch direct from Max Cooper's store: store.maxcooper.net Unspoken Words is Max Cooper’s most revealing work to date, leading the listener through experiences of escapism and connection with personal stories of reflection, acceptance, grappling, idealism and rejection.The raw expression of Cooper’s own mental state illuminates the universal experience of being human. Unspoken Words offers common ground, a unifying space for anyone who faces internal discordance and feels the need for greater connection and greater expression.Speaking about the process of writing Unspoken Words, Max continued: “I find existing inside my mind to be a sometimes beautiful, sometimes intense, sometimes abrasive, messy, baffling, relentless experience, and I’ve tried to put as much of that feeling and form as I could into the album.”The deftly mixed audio is accompanied by a visual story which unfolds through 13 short films by a range of visual artists commissioned and directed by Max Cooper, and mixed in Dolby Atmos surround sound.Mastered in Dolby Atmos surround sound, Unspoken Words is a visual story which unfolds through 13 short films by a range of visual artists, commissioned by Max Cooper, and under his creative direction. These combine to form a meditative metanarrative on the artists’ internal battle for expression, and our communal journey to find our place in the world. 'Unspoken Words' is released on Mesh, on Blu-Ray + CD double pack, 12" double gatefold vinyl, download and streaming platforms. Buy / stream: ffm.to/unspokenwords_ FOLLOW:MAX COOPERWebsite: maxcooper.netYouTube: https://MaxCooper.lnk.to/SubscribeInstagram: instagram.com/maxcoopermaxSubscribe to Discord and mailer for community, news and exclusives: https://mailchi.mp/maxcooper/join-inner-circleMESHWebsite: meshmeshmesh.netInstagram: : instagram.com/meshmeshmesh_
Max Cooper - Spectrum (Official video by Christian Stangl) Max Cooper 2022-03-21 | ► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpTaken from 'Unspoken Words' album/film - stream / buy / pre-order: ffm.to/unspokenwords_.oyd ► Buy merch direct from Max Cooper's store: store.maxcooper.net Max CooperWriting the music created a melting pot of feelings for me, it carries a lot of hope and happiness, but also sadness and reflection, without there being any conflict. It’s a simple example, for me, of how language is a poor tool when it comes to describing an internal state succinctly and accurately, where music can do so, far more effectively and directly. I named the track spectrum in reference to the valence of language along a positive to negative scale of mood, which we need to work with when describing emotive states. An internal state, for me, at least, is a speckled sampling of this spectrum, perhaps tilted in one way more than another, but always in relation to the spectrum and moving with each new thought.I was interested in the visual analogy of the colour spectrum, and presenting it in partial, changing form, in relation to human imagery. I chatted to the artist and film creator Christian Stangl about the project, and he came up with the idea of using rocks with partial crystal structures, water and lighting effects to explore the natural creation of colour spectra from split white light. The system yielded some structures reminiscent of human form, and Christian created human apparitions amongst them to be discovered with each viewing.Christian Stangl An opal is more then a gemstone.They are unique minerals which are created by nature in a special way.Opals are formed by accumulations of siliceous fluid in various rocks. They are formed either in sedimentary rocks or hydrothermally in volcanic rocks, such as in tuff, but they can also form from organic material over millions of years. After they are fully formed they still have up to 20% water.My father collects rough crystal opals and refines them into beautiful polished gemstones.The play of color is one of the most mesmerizing effects i have ever seen. Looking inside an opal is almost like a window into another Universe.When I already started to do the first macro photo experiments with them, Max Cooper asked me to create a music video for him. It didn't take long until I realized that Opals and Max Coopers track Spectrum could be a very good match.I used a small video-beamer with a special lens attachment to project tiny moving pictures onto the minerals to bring them to life in a special way. Either these videos were synchronized to the music or they show traces of humans. The variation of light and color makes the opal a perfect object just waiting to be moved. I used a micro-rotation-stage to get these motifs moving and to change the angle of incidence of the light.Look closely and you can discover bizarre landscapes, interstellar nebulae but also human shapes.CreditsA film by Christian StanglMusic: Spectrum / Unspoken Words by Max CooperLabel: Mesh / Mesh Films Rotation-Stage-Controller by Mario ZellerOpals polished by Ernst StanglFaces from Traiskirchen-Das MusicalProduced in 4K UHDFOLLOW:Max CooperWebsite: maxcooper.netInstagram: instagram.com/maxcoopermaxYouTube: https://MaxCooper.lnk.to/SubscribeSubscribe for mailer news and exclusives: https://os.fan/MaxCooper/SignUpChristian Stangl Website: https://www.christianstangl.atVimeo: vimeo.com/christianstanglhttps://www.esta-holzdesign.at/http://www.schweigendemehrheit.at/traiskirchen-das-musical/Mesh Website: meshmeshmesh.netInstagram: : instagram.com/meshmeshmesh_
Max Cooper - Exotic Contents (Official video by Xander Steenbrugge) Max Cooper 2022-02-22 | ► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpTaken from 'Unspoken Words' album/film - stream / buy / pre-order: ffm.to/unspokenwords_.oyd ► Buy merch direct from Max Cooper's store: store.maxcooper.net Max Cooper: I have been exploring the difficulties of communicating with words as part of my new Unspoken Words album project. I was thinking about how to visualise the idea, and started chatting to artist and machine learning specialist Xander Steenbrugge about a system for converting words to visual stories. The idea was to take the writings of Ludwig Wittgenstein, who tackled this question of the difficulties of using words to explain our selves and our place in the world, and to have the AI system re-interpret these writings in visual form, making a direct visual representation of the Unspoken Words album concept. It's interesting for me to see the incomprehensible philosophical language interpreted visually like this, full of symbolism and the boundaries between language, our selves, and the world, broken down into flowing abstraction. I haven't really taken it all in yet, I feel like there's more to discover in it than I can appreciate. The system has a lot more potential too, we will be running a version where you can have your own words turned into visuals and music as well, keep an eye out on my socials and mailers for that if you'd like to get involved.The music was a similar departure from my usual interpretation of ideas, where I applied a half time drum and bass format with more aggression and sharpness of sound design. It’s a club track, but for me, an exotic form of club track. The name came from Wittgenstein’s private language argument, and the difficulty of communicating an entirely internal, subjective object to others when we can never directly show the object to each other. He uses the analogy of a beetle in a box, and I refer to the idea instead as our exotic contents.Xander Steenbrugge: From the very start of this collaboration, Max and myself were very eager to leveragethe latest advances in AI to directly visualize language through the mind of the machine.For the past few months, in fact, I've been exploring this approach using a combinationof two machine learning models: a generative system called VQGAN, which can generate pixelsstarting from a blank canvas, and a perceptual system called CLIP that guides this generatorby scoring how well the generated imagery matches a given language prompt. Through thisfeedback loop, the system can be used to directly convert language into the visual domain.After an early phase of experimentation with this technique, we quickly settled on Wittgenstein'sTractatus as a great narrative for this technique as it deals directly with the relationship betweenlanguage and reality and aims to define the limits of science.This final video then, is a direct visualisation of many of the statements posed by Wittgenstein inhis seminal work, as interpreted by the AI.Here you can find some examples of the timestamps and corresponding language prompts used to create the visual narrative:0:00 "The world is everything that is the case"0:16 "Any one can either be the case or not be the case, and everything else remain the same"0:29 "I am my world"0:41 "According to Wittgenstein: The limits of my language mean the limits of my world"0:52 Tractatus quotes1:00 "The picture is a model of reality"1:26 "Objects form the substance of the world."1:42 Tractatus quotes1:56 "The picture is a model of reality"2:10 "A name is a primitive sign"2:23 "What can be shown cannot be said"2:38 "There is indeed the inexpressible. This shows itself; it is the mystical"3:19 Tractatus quotes5:15 "Whereof one cannot speak, thereof one must be silent"5:20 "The world is everything, I am my world"CREDITS: Music by Max Cooper Video by Xander Streenbrugge Record Label - Mesh Mesh Films FOLLOW:Max Coopermaxcooper.netInstagram: instagram.com/maxcoopermaxYouTube: https://MaxCooper.lnk.to/SubscribeSubscribe for news and exclusives: https://mailchi.mp/maxcooper/join-inn...Xander StreenbruggeInstagram: instagram.com/wzrd.ai.officialTwitter: twitter.com/xsteenbruggeMesh meshmeshmesh.netInstagram: instagram.com/meshmeshmesh_
Max Cooper - Everything (Official video by Nick Cobby) Max Cooper 2022-01-18 | ► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpTaken from 'Unspoken Words' album/film - stream / buy / pre-order: ffm.to/unspokenwords_.oyd ► Buy merch direct from Max Cooper's store: store.maxcooper.net Max Cooper: My new single, Everything, is part of the Unspoken Words audio visual album project. Every chapter and piece of music is an expression of something I can't properly communicate with words, but can with music. This first single from the project is a story about us as the vessels of the outside world, and our capacity for implementing change via a heavy dose of synth chord idealism. The video project shows footage of everything contained inside us. We are aware of an outside world, but ultimately; the scenes are experienced internally, and much of what may seem hopelessly out of our control need not be so. That's the idealistic idea which is mirrored musically, at least. I started the music when I was in need of something to give me a push forward. Sometimes a high energy classic synth explosion is the recipe for the job. It created the feeling that anything seemed possible, a fresh belief with a touch of ignorance that’s essential for new ideas to emerge free from the constraining baggage of old failures. The synths seemed to carry the hope of everything I could imagine, condensed into the simple chord progression, improvised pads and layers of distortion. It was a lot of fun to work with, and spending time in that creative mindset generated lots of ideas.For the visual story I worked with my long term collaborator Nick Cobby, along with the photographer's Andrey Prokhorov and Pedro Salas. Andrey has a huge library of imagery from around the world and I wanted to try and put everything inside the minds and bodies of the people of Mexico City, where Nick is based, in order to mirror the explosion of feelings and ideas and potential I had felt from the music.The whole album was also mixed in Dolby Atmos surround sound format at String and Tins studio in London. Culum Simpson designed the spatial structure of the Atmos mix in a similarly direct manner to that of the original stereo mix and visual, with growth towards full power immersion from all sides, and an ever increasing barrage of sound from the ceiling and walls as the track develops. Lots more to come soon on the spatial design process of every track and how to hear that format of the album - sign up to the mailer if you want to have first and full access. Many thanks for having a look and a listen.Nick Cobby: Myself and Max discussed at length how to incorporate the idea of 'Everything' into a visual. With the help of Andrey Prokhorov, we had the opportunity to convey this idea by weaving together a colossal amount of stunning footage he shot from around the world.The main challenge was to find a way to combine the sheer amount of imagery and bring it all together. 'Everything' as a concept is only what we ourselves perceive so I decided to use human anatomy to project Andrey's content, merging it with representations of identity and existence. The result is a dense collage with layers of memories, dreams and experiences we peel off to reveal our consciousness. We are everything. Everything is us.For the human aspect, I worked with photographer Pedro Salas to shoot some portraits of people in and around where I live in Mexico, which is a very multicultural area for here. We shot all kinds of people, as many races and ages as we could. These portraits then were cut up and rearranged to create collages that give no precedence to any particular person. There are glimpses of the faces throughout and at one point the full portraits are briefly visible. I like the way the project started as simple portraits and ended with such an intense barrage of imagery.Technically, I pushed my machine's capabilities to the limit to incorporate so much 4k footage from Andrey. We needed so much to convey this idea. Clips upon clips. Days upon days of rendering and re-rendering. Thousands of layers were assembled, masked and then re-projected onto 3d face structures in what became a mixture of automated and manual frame by frame animation. I hope the final result reflects the intensity and energy of the music and the idea we were trying to convey.CREDITS: Direction, Production and Post Production by Nick CobbyAdditional Footage by Andrey ProkhorovPhotography by Pedro SalasMusic: Max Cooper - EverythingLabel: Mesh FOLLOW:Max Cooper (Music) maxcooper.netInstagram: instagram.com/maxcoopermaxYouTube: https://MaxCooper.lnk.to/SubscribeSubscribe for news and exclusives: https://mailchi.mp/maxcooper/join-inner-circleNick Cobby (Film Maker) http://nickcobby.comInstagram: @nickcobbyAndrey Prokhorov (Additional Footage)Instagram: @proxorovPedro Salas (Photographer)Instagram: @pedrosalasfebres
Penrose Tiling Remixed - Penrose-Voronoi Tiling by Jessica In and Max Cooper Max Cooper 2021-12-28 | ► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpMusic taken from 'Yearning for the Infinite Remixed' - listen: https://bfan.link/yfti-remixed► Buy merch direct from Max Cooper's store: store.maxcooper.net New videos are premiered privately to members of the mailing list - sign up for first news and exclusive content: https://mailchi.mp/maxcooper/join-inner-circleThe original 'Penrose Tiling' video (youtube.com/watch?v=j8SNmGHhfks) was part of 'Yearning for the Infinite', an album project commissioned by the Barbican to create an immersive multi-screen performance - read more at yearningfortheinfinite.netI went on a little audio-visual remixing experiment with the great code artist Jessica In recently, which you can see today ahead of its release to the public tomorrow.Jess had built an animated Penrose Tiling system for the Yearning for the Infinite album project, and I wrote a piece of music where loop lengths were different primes to yield a similar aesthetic of aperiodicity musically. But I felt like there was still more to explore than we had found first time round, so when it came to making a remix package for the album we decided to try and remix both the audio and the visual for it - the result being Penrose - Voronoi tiling. Musically, I took a lot of the layers of percussion which were a little hidden in the original and brought them to the fore for a more glitched dnb approach, while Jess remixed her Penrose tiles into Voronoi tiles! I don’t know much about Voronoi tiling though so I’ll pass you over to Jess to tell us all about it (Max):Directors' comments, by Jessica In:"Revisiting the potentials of Roger Penrose's aperiodic tessellation, in this remix the visuals are constructed with an underlying Penrose Tiling, whose centres and vertices become the seed points for a Voronoi diagram.The Voronoi diagram is a method to partition a space into convex polygons, such that each polygon contains exactly one generating point and every point in a given polygon is closer to its generating point than any other. Although Descartes already knew about this space partitioning in the 17th Century, it was Georgy Voronoy who defined the algorithm and extended its investigations into higher dimensions in 1908. Voronoi diagrams find widespread applications, from computer graphics, art & architecture to geophysics and epidemiology (notably used in an analysis of the cholera epidemic in London in 1854 by physician John Snow).One application of the diagram is the idea of Voronoi entropy - a mathematical tool for quantitative characterisation of the orderliness of points distributed on a surface - i.e. how visually 'ordered' the tessellation is. I found this idea particularly fascinating especially when thinking about the aperiodicity and the infinite structure of the Penrose tiling. In these visuals, the Voronoi diagram is created using the vertices of the Penrose as its seed points. This creates a new type of Penrose Tiling, clearly different from the classical Penrose, however still exhibiting the fivefold structure of the original, while 'defects' begin to appear at the peripheries.As the Tiling progresses, the basic underlying Penrose structure is broken down, decomposing the 'grains' of the original tiles so that more discernible figures begin to appear in the tiling. The faces emerge subtly at first and then become more obvious in the drop. I was keen to push the potential for a geometrical system to be visually expressive, and to play at the edge of perceiving facial figures to bring the human element back into the pattern.My videos are created by drawing with code, custom written mostly in Processing. The original Penrose Tiling visuals used my own implementation of the Robinson decomposition algorithm, and here in the remix I've added a modified version of Frederik Vanhoutte's Voronoi implementation."FOLLOW:Max Cooper:maxcooper.net/Instagram: instagram.com/maxcoopermaxYouTube: https://MaxCooper.lnk.to/SubscribeSubscribe for news and exclusives: https://MaxCooper.net/#joinJessica In:http://www.jessicain.netinstagram.com/shedrawswithcodetwitter.com/innjesst
Max Cooper - Live at the Acropolis trailer Max Cooper 2021-11-28 | ► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe ► Join mailer for news and exclusives: https://os.fan/MaxCooper/SignUpListen to the full concert: ffm.to/liveattheacropolis► Buy merch direct from Max Cooper's store: store.maxcooper.net
Max Cooper - Live at the Acropolis - full concert broadcast 6 July on YouTube Max Cooper 2021-10-29 | ► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpListen to the full concert: ffm.to/liveattheacropolis► Buy merch direct from Max Cooper's store: store.maxcooper.net Max Cooper:"Performing on the site of the Acropolis was an overwhelming experience, an extremely intense gig scenario. I'm excited to announce my first ever live album, live at the Acropolis, out this Fri 29 October. You can stream the whole set now via the usual services, including Bandcamp here: ffm.to/liveattheacropolisI wanted to use the spectacle and feel of the space, to work with it, rather than just at it. So, in collaboration with Athens Epidaurus Festival and Plissken Festival, we worked to create a visualisation to cover the ancient monument of the Herodes Atticus Theatre, with a semi-transparent screen so that the architecture was always present at the same time as having a full fidelity image. We captured the ambient sound of the space and the interaction of the audience with me, so the live recording has some of the special acoustics and feel of the space. I hope you enjoy it, and can get a sense of being there."CREDITSMusic: 'Perpetual Motion [Live at the Acropolis]' by Max Cooper℗ 2021 Mesh © 2021 Manners McDade Music PublishingPhotography by Panos Georgiou, editing by Ben Mcintyre
Order & Chaos - a short film by Thomas Vanz, music by Max Cooper Max Cooper 2021-09-27 | ► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe ► Sign up & join Discord: https://os.fan/MaxCooper/SignUpShort film by Thomas Vanz, scored by Max CooperFOLLOW:Music:maxcooper.net/Instagram: instagram.com/maxcoopermaxYouTube: https://MaxCooper.lnk.to/SubscribeVideo: thomasvanz.comInstagram: instagram.com/thomas_vanzYouTube: youtube.com/channel/UCjCgoZMX8t1XQd4ti23RPoA
