Hate to say it, but it's more or less true. Less is More.


MNMLv2 by RebelOverlay
Again. Less is More.


WireSystem by Unit44
The devil is in the details, and detail is something WireSystem has in abundance. Prepare for take off in the 3d city, make sure you check your vitals on the Heads Up Display. Top it off with some Plexus action for any music style, and all systems are go.


Butterfly by Unit44
but·ter·fly ef·fect /ˈbʌtəflʌɪ ɪˈfɛkt/ the phenomenon whereby a minute localized change in a complex system can have large effects elsewhere.

FIBER Festival 2012 connects digital art with contemporary club-culture and enacts the in-between.
Audiovisual network festival FIBER is preparing to once again merge different worlds into one unified interdisciplinary experience of (visual) art and music.
The second edition of FIBER Festival will take place March 24th 2012 at ‘De Verdieping’, the basement of the renowned venue TrouwAmsterdam. Tickets are available in online presale at fiberfestival.nl and can be bought at the door during the event.

In the Resolume workshop, no-one other than Edwin will introduce you to our latest software and its mapping features. You will be mapping different objects and experiment with the possibilities of the software. And if you're good little boys and girls, you may even get a sneak preview of the new mapping features of 4.1 (l*y*r r**t*ng? m*sks? cr*ps? s*ph*n *np*t and **tp*t? Would you like to buy a vowel?)

365MAG & UNIS ACADEMY present ABLETON LIVE & RESOLUME MASTERCLASS special guest- Patrice Bäumel


365mag.com & Unis Academy team up with Ableton & Resolume ,supported by Sugar Factory, to present a very special workshop about today’s ultimate combination in Audio Visual Performances.
The event is focused on the latest in music & media technology combined with an international artist. This special edition features the combination of Ableton and Resolume. THE ULTIMATE A/V COMBINATION.
The last four DJ, Producer and VJ Masterclasses by 365mag were completely sold out and were a big hit! Get your tickets in advance via Sugar FactoryThe doors for the event will open at 19.00 hours sharp, there will be limited tickets available on a first come first serve basis.

THE PROGRAM

1. ABLETON LIVE: Unis Academy's Ableton Showcase - Building a Track - Live on Stage.
The evening will start with the Ableton Certified Unis-Academy lecturer's Cenk Unis & Alex Thomson, who will be showcasing a variety of production techniques as well as exposing some of Ableton's "hidden features". This will be done by creating a unique track on the fly and it will include various synthesis techniques allowing them to create their very own kicks, snares, hi-hats and other drum sounds, they will also dig into sampling, quick composing tricks and other different methods to help producers get the most out of Ableton.

2. RESOLUME: VJing, Visual Productions and Audio-Visual Performances.
The second part of the evening will focus on the newest in VJing and Visual Productions using Resoulme's Avenue 4. Resolume have made it possible to custom make all your own visuals in an easy to use and intuitive manner.
Cenk Uniswill give a demostration of Resolume’s interface and how to set up your visual or Audio visual set with connecting midi controllers for hands on control! Resolume have enabled VJs and Visual productions to reach new levels of expertise.

3. SPECIAL GUEST: Patrice Bäumel, A/V Performance Using Ableton connected to Resolume.
The Internationally renowned DJ & PRODUCER Patrice Bäumel will conduct this. Patrice Bäumel is a German electronic musician who has been living in Amsterdam for the last 14 years. Before fully committing his life to making music, he had a career in teaching, computer programming and design, which makes him the perfect person for this event. Patrice will explain and demonstrate how he uses Ableton with Resolume to create his unforgettable upcoming Audio-Visual performances. ABLETON + RESOLUME= THE ULTIMATE A/V COMBINATION

Date: SAT-17-03-2012
Time: 19.00 – 22.30
Location: Sugar Factory
Address: Lijnbaansgracht 238, 1017 PH Amsterdam
Price: € 12,-
Ticket link: https://v1.paylogic.nl/frontoffice/?command=paymentMenu&merchantModuleID=53948

http://www.ableton.com
http://www.sugarfactory.nl
http://www.365mag.com
http://www.unis-academy.com
http://www.resolume.com

The following broadcast is Dutch only, but great news if you're from these parts.

Voor alle creatievelingen
Op 7 April geven de veejays van Vision Impossible en Sense Studios een
uitgebreide kennismakingsworkshop in de Sugar Factory in Amsterdam.
Maak kennis met het vak, de beelden, software en de apparatuur.
Leer hoe je prachtige visuals maakt en hoe je indruk maakt op een uitzinnig
publiek.
Schrijf je nu in voor de introductieworkshop op 7 april. En wie weet win je
later in april de talentenjacht…
De perfecte start voor jouw veejay-carričre in Amsterdam, de veejay-hoofdstad
van de wereld!

Meer info op http://www.VjAcademy.nl

Here's what you get when you throw Avenue, Quartz Composer, IRMapio, two 10K projectors, a dance company and a whole lot of talent in to a blender:

Creative talent behind all this is Mika Ventura, and he kindly explained more of the details to satisfy your geeky needs:

Geneva dance company Diadé hired us to create a backdrop video for their new show "Metro". The whole backdrop had to look like a metro train, so we built a 9m by 3m screen to project upon. The elements had to be independently triggered : opening of doors, tilting of the metro axis, outside view (through the windows), charting speed, insertion of other elements as vehicles or fake billboards, etc.

The need to use Resolume became obvious really fast, as 80% of the content was created with Quartz Composer, like the 3D metro train or the backdrops charting on different layers. The Resolume interface, with its layer levels and its possibility to directly control Quartz Composer elements offered us the flexibility we needed. More over, we had to use two 10.000 lumens projectors connected to a Mac via a Matrox Triplehead2Go. Using IRmapio, we were able to create a soft edge in no time.

Resolume's structure was set up as such :

layer 1 : forground elements, tv noise, flames, smoke
layer 2 : QC metro controlled by slider parameters (published input splitters in QC)
layer3 : QC backdrop and some video loops for the subway station

Here are a few pictures :

Metro setup in Resolume:



Metro setup in Quartz Composer:




For more of Mika's amazing work, check out his blog at http://mikaventura.tumblr.com/ There's some cool stuff to be seen there!

This footage release introduces two new artists on the label, which is always an exciting thing. Fresh blood with fresh styles is good for the gene pool.

AkustoOptik is a VJ team from Berlin, a town buzzing with creativity. In fact they show just how much Berlin is buzzing with their new set MiniBerlini.


MiniBerlini by AkustoOptik

Unit 44 blasts itself on the label with the grungy GFX. Originally developed as a video clip to satisfy their craving for brutal 3D work, they now let their baby loose to wreak havoc on the world.


GFX by Unit 44

And not new but still fresh we got our very own Hybrid Visuals, offering slick and stylized motion work in hypnotic patterns. As always, the Quartz Composer for even more Repetitive Strain on your eyes.


RepetitiveStrain by Hybrid Visuals

We're quite happy with the stability of Resolume 4.0.0. For most people Avenue and Arena are running rock solid. But there's always the odd bug here or there and this update (4.0.1) fixes a few annoyances. Just fixing bugs is no fun so we could not help ourselves and put a few tiny new features in. Just because we can.

The most handy feature ever is that you can now do calculations in all numeric fields. So if you want to make for instance a clip half the width you just type in: 640 / 2 and it will make the width 320 pixels. This is really handy in the advanced output screen if you need to move a slice 10 pixels, you just type + 10 after the position value and it will move. We just love it ;-)



Thanks to Daniel Radutu, Oscar Vaquero Viñes and Ronam Bonfim, Resolume is now also available in Romanian, Spanish, Catalan and Brazilian. Would you also like to translate Resolume? Japanese? Chinese? Swahili? Send us a mail@resolume.com.

Go download Resolume Avenue or Arena 4.0.1. It's a free update as always.

Resolume 4.0.1 Changelog
[NEW] Math in number input fields. SUPER HANDY!
[NEW] Romanian, Spanish, Brazilian and Catalan translations
[NEW] Mask relocate
[NEW] Disable Quit confirmation
[NEW] Automatically detect if OSC msg uses a bundle
[FIXED] Cue points triggering with keyboard broken
[FIXED] Registration only works on one user account
[FIXED] Video speed is not stable, videos drift out of sync
[FIXED] Slider in-out points click area too small
[FIXED] DMX automap PDF contains wrong channel numbers
[FIXED] Windows installer contains old FFGL plugins
[FIXED] Windows installer does not contain VST plugins
[FIXED] Masks can't be dropped from Finder or Explorer
[FIXED] Crash: Open advanced output when it's minimized
[FIXED] Clicking the name of a playing clip in the layer jumps to the layer tab instead of the clip tab
[FIXED] Decks clear after switching between them
[FIXED] When a file used for a mask is moved, Resolume crashes when it tries to use it
[FIXED] Quartz crash with some compositions
[FIXED] Speed/pitch slider does not show midi range in midi mapping mode
[FIXED] Opening a 'closed' deck from a composition causes crash
[FIXED] Shortcut is not cleared when moving clip in composition midi map
[FIXED] OSC stability improvements
[FIXED] Flash animations set to 10x the original speed make the interface very slow
[FIXED] Master fade and cross fader are not properly reset when choosing 'composition new'
[FIXED] Setting range for midi control in clip context is not remembered for other clips.
[FIXED] OS X Dock and Menu overlap fullscreen output
[FIXED] Multiple shortcuts can be assigned in composition map
[FIXED] Shortcut still works even when menu item is disabled
[FIXED] Effect Clip preview isn't working.

Nobody would have thought it when we started making Resolume more than 10 years ago, but the VJ software business is booming. It's booming so much in fact that we need more people to help us out.

We have a lot of users and a lot of ideas. What we don't have, is enough hands to build it all.

So this is where you come in. Do you have hands? Do you have brains? We have a full-time position available at our Resolume HQ in The Hague, The Netherlands. We work in a small team with a flat hierarchy, so your input will help shape the future of Resolume.


What we're looking for:
* 5+ years experience in developing software using C/C++ & OpenGL on Mac OS X & Windows
* Fluent with GLSL shading language
* Advanced foosball skillz

What makes our hearts beat even faster:
* VJ-ing experience
* Experience with Objective C
* Experience with FFGL SDK
* Affinity with creative coding environments like openFrameworks, Cinder and Processing.


So here it is. Your chance to work for one of the worldwide market leaders in the live visual industry. And to learn a whole new way of playing foosball.

To apply, send a cover letter, your resume and examples of your work to mail@resolume.com, ℅ Bart van der Ploeg.

Recruitment agencies don't have to respond.

Last year at the lovely VJ Fest Istanbul, I was lucky enough to attend an awesome lecture on the history of audiovisual performances. The lecture was given by Cédric Chabuel, a kind and soft spoken gentleman who performs with his own AV work under the name Ouananiche. It was awesome to get insight in the development of the medium from someone so closely involved with it, all of it well illustrated with striking examples. I was so impressed we asked Cédric to make a written version for the Res blog, so you can now have your mind expanded as well...

Video musical remix is my way of putting together what I know best : part DJ, VJ, director, sound designer and musician. It's an all too simple and too complex mechanic : sample movies and recompose video and music tracks without ever breaking picture and sound synchronization. This is called DVJ, live AV, audiovisual mash-up or video music... Personally, I prefer the term « Video Musical Remix » because it reflects both my intention and the trend it fits in. It's not about remaking the film or video clip, but it's about using picture and sound to create music. Pushing the limits of cinema, video art, concert and digital art, Video Musical Remix is a journey in between codes and languages to define a new genre. As one picture is worth a thousand words, here is one of my first production.


<Un Petit Bonhomme> by Ouananiche

Going back to the source is not an easy task. Researching my first video musical remixes brought me back to 1997, where I can identify two main founding influences.
The first one was on a CD-ROM ( crazy right? ) that came along with the latest Coldcut album « Let Us Play ». On this bonus CD, I found videos that blew my mind. In collaboration with Hextatic, Coldcut used video and sound samples with musical beats. The most famous piece is called « Timber ». The sugar on top was Vjamm, a software that really let us play with their videos on our very computer keyboards. Today, Vjamm was one of the first tools dedicated to video music and audiovisual live.


<Timber> by ColdCut/Hexstatic

Tasman Ridcharson, from the FameFame collective based in toronto, publishes « Jawa Manifesto » the same year to express their vision of video musical remix with a simple expression : «Sex and violence». In a much more hardcore/breakcore tendency, FameFame artists don't add sounds and only use the sound provided by the pictures. « A single frame of Darth Vader instantaneously evokes the whole mythology of Star Wars and that character » says Tasman. That's the stumbling block of remix art : telling a story with combined sensical samples. Jubal Brown, ex-founding member of FameFame, still organizes today one of the most popular event devoted to video mash-up : Videodrome, which attracts a solid crowd every year at Toronto's MOCCA. Here is one of his videos, typical of Toronto style ( Beware : shocking images. )


-Anti-Feelings- by Jubal Brown

Vjing and electronic music are linked since they were born. It was only logical that they ended up together. The same basic techniques : sampling and synthesis. Remix and sampling always go together : cut and pasted elements from an original piece then create new meaning, weather the reference with the original is kept visible or not. For video musical remix it's the same mechanic but you keep the original synchronization of sound and picture. So you can actually see music. It's technically the same process as electronic music using samples, except that it now happens on an editing timeline with more constrains than just sound.
There are many softwares for music and video editing... but very few are really powerful in both sound and video editing. For now, each artist creates his own path through many different tools but it is a clear tendency that in a close future all softwares will be fully audio visual.

But one of the main problem when dealing with remix remains copyright. The twentieth century was the century of copyright. What has originally been a system to protect artists, authors and respect for intellectual property became an arbitrary and absurd limit to creating. Art is copy, and those who want to divert, quote, remix, illustrate from existing creations now have three choices :
- Clear the sample, i.e. get the proper authorization from the copyright holder ( in other words be insanely wealthy )
- Ponder if it's worth the risk over and over to finally accomplish nothing
- Take all risks and try to look cool before the FBI nails you

The copyright situation today is in total contradiction with art and culture history. Brett Gaylor gives a great example in « RIP! A remix manifesto » : Walt Disney creates an empire ripping off popular culture fables (Sleeping Beauty, The Beauty and the Beast, Aladdin... ) but sues anyone getting near Mickey Mouse image.


<RIP - A Remix Manifesto trailer>

Occasionally artists, producers and copyright holders reach an agreement, when hollywood movies are remixed for commercial use by the collective Addictive TV. These products are « official remixes ». In my case, after playing live with pirated material many times, I was offered movies to remix by adventurous producers. « Next Floor » by denis Villeneuve, « Les Manifestes en Série » by Hugo Latulippe and more to come. If intellectual property and copyright stakes are of any interest to you, I suggest you check out this compelling conference by Lawrence Lessig, founder of Creative Commons.


<Next Floor Remix trailer> by Ouananiche


<Les Manifestes en Série extracts> by Ouananiche

Here is a brief and incomplete summary of international video musical remix artists :
– Coldcut
– Addictive TV
– EclecticMethod
– label V-Atak (Rko,VJMeat,Nohista)
– GiovanniSample
– Systaime
– Vidéosampleur
– Kutiman
– Pogo
– label Dropframe (Skeeter,Wnodtlem,etc.)
– JubalBrown
– Tasman Richardson
– Ouananiche
- Amoeba
- Frank Sent Us

And to conclude, as Jim Jarmush says : « Nothing is original, Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don't bother concealing your thievery -celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said "it's not where you take things from -it's where you take them to." »

Be sure to check out Cédric's work at poissonsmorts.com, and of course feel free to add links to your favorite AV artists via the comments!
Translated from french by MattBen


If you've been keeping up on the AV scene for the past few years, you must have heard about him, and if you ever met amoeba aka haggard celine aka a.av aka acab23 in person, you know he's always good for a funny tale or two. So it's high time we introduced you to the man, the myth, the legend...



What's your background?

When acid house + techno kicked off in the Uk around late 80's early 90's I was finishing graphic design college in Glasgow, and was ideally placed to incorporate and embrace the new emerging design, creative typography, computer, vj and electronic music scenes with a gonzo influenced approach and a creative design based background.

In my graphics I was already influenced by the designers republic, japanese typography, constructivism, sigil magic, psychicTV, video art/visual music and the emerging techno shamanic dance cultures and tribal lo-fi collectives of creatives, and the significances of these new connected cultures as it spread worldwide were something I wanted to be part of, and contribute what I could to it.

Originaly i provided direction and creative content as part of the scottish video arts collective A.'.A.'.A, then i moved on to mixing my content the way i wanted it to be seen. In the beginning when projectors cost more than the club we were using 23 TV's as screens [6 cars to get to a gig back then ; ) ] We performed and mixed at clubs or with artists throughout the 90's for labels, artists and clubs like Rub a dub, the arches, slam, jeff mills, alabama 3, and Soma records.



I set up amoeba.design [http://www.theestateovcreation.co.uk] in 1993, as a creative,thinking, studio.
To use my design and video skills for fun and profit, for forward thinking traditional design and media clients, in order to finance and give me the freedom to produce my own creative audio visual work that I was developing, and that, as we know takes time and freedom to create. Money provides this. Originally based in Glasgow, then london, now based in Brighton, and working for clients in the UK, USA, Europe and Russia.

amoeba has launch styled magazines, re-branded TV channels, banks, labels, clothes lines, art directed tv and press campaigns, directed and produced music videos, and various music and tv, print and cinema campaigns for album/cd/web launches. We also produce a lot of broadcast, title, promo and E.P.K's for MTV, channel4 and ITV. More recently have found myself working for Films, and creating and directing viral and digital campaigns.



In 1997 I stopped vj'ng and concentrated on producing audio-visual content for my own creative projects, and to set up my own AV label and act,
A.AV [amoeba.av] http://www.aavaple.info

I now perform as A.AV at media events, festivals etc. with a full bespoke AV show. I have always specialised in utilising the audio from within the animations and synched motion graphic sequences, creating unique live audiovisual reactive environments from various styles of audio synched creative typographical animations, shot film and AV experimental work.

I have refined the A.AV sound and look over the years with performances at media events, festivals, digital showcases etc, and visualmusic DVD releases on http://www.lightrhythmvisuals.com

You're quite a prolific fellow, working for film, tv and other corporate clients as well as doing more artistic projects. How do you balance it all? Do all these different jobs require a very different approach as well?

I set up amoeba and my website http://www.theestateovcreation.co.uk with deliberate emphasis on thee state ov creation, as that was the brain and psychological state that I was most comfortable with and would be the continual thread that runs through my corporate and creative work since 93. Amoeba was so i can split and divide re-creating different styles and creative techniques and that suits me fine as i never wanted to specialise in one aspect of anything.

Poverty is the mother of all invention, so growing up in business the 90's in the UK, I learned like most of us, to do miracles with nothing, I do almost everything myself, from pitching for the job, meeting the client, doing the visual, creating and designing the content, handling the account and invoicing, so im very very hands on. This helps in business and also with the creative more "artistic" works as I see these new artistic jobs as a treat for me to be enjoyed as the corporate work has paid for my time off in developing new ideas, style and experiments that i can use in these artistic jobs which are then a showcase for my AV work that get clients interested.

Ultimately the end results are I get to play with some great new technologies and styles and unseen techniques and these get to filter into the mainstream culture for my design/tv clients, for example the midi based AV glitch typography i was doing live in 2001-2005 has now found it's way happily into my TV title design, and Promo packages for the likes of muse, the foo fighters and spongebob squarepants, as the clients all saw the more extreme work and asked for a more diluted version for their campaign, which I have no problem doing, as Im a commercial artist who has got to pay the bills, and I see my animations and work as my pick pocketing little children [ charles dickens fagin springs to mind, the street urchins ] and they gotta go and get daddy some money ;)

All jobs are almost generally the same, once you break them down into quantifiable pieces, they just require time, concentration and effort. My approach is usually the same figure out how little work I can do for maximum creative impact, and then timeline the job and head straight for the digital trenches, screaming and punching, only looking up to see if theres a progress meeting or a change in the brief and that working practise relates to print design, viral making, motion graphics or audiovisual reactive environments.

You release work on LightRhythmVisuals. Can you talk a bit about that label?

LRV is fantastic creative AV label, I've full support for ben sheppee, he has kept the quality control over the content tight and groundbreaking. Every release from the first to the last has been special, and his effort and time spent on these projects has helped lift the AV scene to levels of acceptance within the corporate and creative industries. He has been one of the scenes founders and has supported and promoted mine and other artists work from the beginning, that has to be admired and respected. He put out my last project the A.P.L.E DVD thee_microglitchmachinefunk AV.EP
A.P.L.E [arrange.process.loop.edit] a DVD/AV.EP with free bonus HD Loops and remixes form other creative AV artists, available here
[http://lightrhythmvisuals.com/store/product/lrv-dvd-amoeba-aple/]

More examples of A.AV// LRV work can be found here [http://www.theestateovcreation.co.uk/aav_visualmusic.html ]

Can you describe your work process?

hmmm…..far too varied to do that, from a-z and back again on repeat ; ) interspaced with extreme bouts of lethargy followed by a manic creative flourish and moments of lucid clarity as you realise you just understood and solved a new problem. I use all software that gets the job done, still do vectors in freehand x, layer up everything in photoshop, animate everything i can in after effects, edit and cut in FCP, model in c4d, and use every other graphic/creative code environment that is necessary to the job in hand. If I cant do something then I either learn or hire in creatives who can do it to the standard I need.

How does Resolume fit into all that?

For my live Audio-Visual performances and media events and clubs it's my performance software of choice. My live a.av performances are typographical based, dub infused environments, built on delay, hiss and reverb, live cinema elements of motion graphics, av tracks and av tools being mixed in and sequenced via midi or o/c. I heavily utilise the audio from lots of pre-rendered edits/loops/tools and sequences. I like to glitch and effect the audio via osc, plugins, effects and the playhead. I incorporate these live elements over midi synched sequences with 95% of the audio of the performance coming from what you see on the screen. With the added vst plugin support it provided the best platform for my audio-visual performances.

For live cinema or short film festivals it's perfect for creative audio and video mixing from the one laptop with great results, and its a reliable tool live.

I also utilise resolume for creative AV sequence creation, tweaking parameters and effects, setting up palettes of presets and batch rendering av loops glitching type and fragmented motion graphics, screen capturing the results at pro res 4:4:2 I find it very useful for creating new effects for typography and transitions.

I use other software for other live and video purposes but find for AV performance with audio control, resolume is the one. With the new added features in R4 the output mapping, effects etc it can only help improve the quality of AV performance work and the creative scene.



Do you use Resolume for your corporate/non-VJ work as well?

As i said i use it as a motion studio tool as well, it serves me many purposes, I've used it to create quick adjustable opening credits and end credits for TV shows, i used it in many MTV stings and promos for effects and mixing, Ive used it for live branding campaigns with reactive logos etc., and I made a protest DVD for the band Politeca [http://vimeo.com/album/219227] with 10 music videos that heavily used resolume to comp/mix and create sequences for the final music videos.

[vimeo]http://vimeo.com/album/219227/video/8664009[/vimeo]

How do you perform live? Any particularly juicy bits of gear you bring with?

these days for solo "turn up and play at a music festival or club" av performances i'm minimal only about 5-6 a year mostly in the uk, europe, and russia.
I mostly do funded installations, organised media and digital events now with short bespoke av performances/talks and workshops.

However saying that I'm just back from a moscow techno session where i was playing with my old scottish mate edit-select and my set up for that av gig was a laptop/ipad/thats all i need for clubs.
For my club music based av stuff, im not usually the headliner so I don't need a mediserver or 4v or 4 laptops and 2 mixers and a mind controlled midi footpedal board, all i need is my laptop touch osc and resolume.
I usually have a creative opening set to perform that i've spent years planing and i don't need many effects or crazy screen splitting or other technology etc. my av performance is specific, direct and pre-planned with happy accidents helping things along the way.

For other events, performances and installations its a different matter and always event specific, and within whatever budget I'm allocated.

You organized a remix competition a while back, offering your loops up for free and inviting people to remix your work. What was the idea behind that, and how were the reactions?

Reaction was great with 70 subscribers and 4 final mixes. It was an experiment in unselfishing myself from my work, to give something back and hopefully encourage creativity. When ever I do workshops or talks etc. people always ask about my content, it's where i send people to grab loops to experiment with, and as they are very cool hd av loops they can't really complain ; ) on my DVD on lightrhythm the aple.EP theres 23 free HD loops on this for people to mash up.

What are some of the more memorable projects you've done over the years?

Broadcast work i'd say my MTV work especially the promo work for bands. Advertising I'd say the Playstation TV advert that i directed and produced, design and music video wise id say campaigns for product.01 and the elektrons. AV performance VJ and Video related here's a wee list of things im happy about…getting creative and experimental av work accepted and on to terrestrial TV has been one of my main achievements ; ) with one of my animations being shown at 8pm on ITV



Setting up an occulture 8hr 4 screen audiovisual hypnogogic ritual performance with theta waves generators inside a blackout space, directing and producing a soft porn chillout dvd made in ibiza over 3 months in a studio under a swimming pool in a porn millionaires mansion that went all apocalypse now ending up with a truck in a swimming pool, illegally throwing up guerilla typographical terrorist projections over and in london during the reclaim the streets events 96-97, and performing at many criminal justice bill events 1995-2008, AV-IT UK 2000 where I showcased my live AV performance and met jilt van moorst and his av software flowmotion, being initiated orthogonally into the russian VJ scene by vj.eps and subsequently performing and surviving the Kazantip Festivals in the Ukraine from 2007 till now and now performing and doing workshops with creative people in Russia, puking on a policeman from the vj booth in brighton, leaving all the gear in the carpark and driving home, dragging a promoter out of the after party by the neck and frog marching him to the cash machine, getting bunged an extra £200 from Andy Wetherall after 12 hours of machinefunk when he blew the yardi gangster sound system at the club and bolted with the words…you aint seen me right!…i could go on ….



And what can we expect from you in the future?

More of the same as before but more so.