Video Painting

  1. I'm really excited about this video project. It is a beautiful humanised exploration of life and emergence, by Maxime Causeret. I hope you enjoy it as much as I do!

    The idea for this part of the Emergence album story started on a day when there was really heavy rain hitting the roof window at my old flat. I got out my binaural mics and put my head right up by the window with the big raindrops hitting all around. They made nice individual percussive noises, with great spatial positioning, so I decided to use them to seed a piece of music.

    This track is the most explicit representation of the idea of emergence in the album, because the rhythm of the track is created by the raindrops in an emergent manner - I took the audio samples, mapped the transients for the raindrop hits, and then forced the mapped points towards the nearest drumming grid positions. This meant that the random raindrops were pushed into a quantised grid, and the result was that a percussive rhythm emerged, one that I hadn't created myself, but was the closest rhythm to that particular section of rain.

    I then played the sansula over this rain rhythm, and added lots of pads and saturation layers, finally with some vocal snippets from Kathrin deBoer to complete the track. Maxime Causeret selected this track to work with, under the brief to map the emergent rhythm to an exploration of emergence in living form.

    His video shows the raindrops initially, then going into simple cellular forms and then showing the important idea of cooperation between simple cells to form more robust colonies of life. This develops into a visualisation of the idea of endosymbiosis, where simpler smaller organisms can live inside larger cells, each providing a benefit to the other, and eventually forming parts of the same organism as they evolve to be entirely dependent on each other. The video also shows competition between organisms for resources, which spurs on their evolutionary development, as each species tries to keep up with the innovations of the others. He also visualises the emergent ideas of flocking behaviour, where groups of individuals form beautiful dancing-like patterns.

    Maxime also shows us a section of animated reaction-diffusion patterns, where simple chemical feedback mechanisms can yield complex flowing bands of colour - these forms of system were originally thought up by Alan Turing, and were part of the early seeds of the field of systems biology, which seeks to simulate life with computers, in order to better understand the systems producing the complexity we see in the living world. They were also the starting point of my main research area many years ago before I got lost in music! (where I began with the question of what patterns could be produced via reaction-diffusion forms of system as opposed to gene-regulatory network controlled patterning).

    So it's a rich visual treat from Maxime on many levels, I can see why so many people were asking about it after the first live show. Lots more amazing video content to come over the next few weeks.

    Some words from Maxime about his process (translated from French):

    Max wrote a brief text on each song to let us know his own feeling and we were free to make our own creation. I firstly made a lot of small experiments with dynamic systems around my main idea of living micro organism. It was now time to experiment with editing. I also ask for opinions, ideas and tests of few friends, specially Leslie Murard.

    I firstly made a lot of small experiments with dynamic systems around my main idea of living micro organism. It was hard to then put everything together. It was now time to experiment with editing. I also ask for opinions, ideas and tests of few friends, specially Leslie Murard. Then i just have to do the real shots from my experiments.

    In terms of tools, I work with Houdini. It's a software which gives you a lot of freedom. You can easily customize tools or build your own tools. It's famous for vfx but you have the same freedom with modelling or animation tools for cheap when you're a freelance.

    I always start with few sketches on paper for ideas. I also search for références drawings/photos/painting. In Houdini i try to setup something fast to Cook or at least fast to preview in order to animate the shots in good conditions.

    The major challenge was to put everything together. There's nothing very hard but it's never easy to get something who "works" so it needed time to adjust things. This production was made this summer on 4 months but not at full time. I also had few other projects.

    You can listen to the full album here:
    Subscribe for more here:

    And more at:

    Maxime's pages:

    # Uploaded 411K Views 133 Comments
  2. HNN "lines"

    From the LP "L'île nue" (La Forme Lente)

    Video by Monica Gallab & Richard Sanz

    Animation by Monica Gallab, Richard Sanz & Nuno Alameda



    # Uploaded 889 Views 0 Comments
  3. About the Work
    The latest work to utilize real time tracking and face projection mapping using a state of the art 1000 fps projector and ultra high speed sensing, “INORI-PRAYER-,“ has been released. This project was born when Nobumichi Asai (WOW) approached collaborators TOKYO(, the dancing duo AyaBambi, and the Ishikawa Watanabe Laboratory at the University of Tokyo.

    This project began when songs were created about ‘life,’ a theme proposed by Tanigawa (TOKYO), who acted as this project’s director. Creative and technical director Asai (WOW) and CG director Shingo Abe (WOW) completed visual production and programming based on inspiration they obtained from the songs. Aya Sato added the choreography, and TOKYO completed the project by making it into a video.

    ‘Radioactive’ is the inspiration that Asai felt from music. ‘Radioactive’ wields destructive power, and from that brings ‘death’, ‘suffering’, and ‘sadness’. And then, the ‘opportunity’ to overcome those things. Accompanied by the overwhelming performance of AyaBambi, a visual synchronization of black tears, skulls, faces being severed, Noh Masks of agony and the Heart Sutra have sublimated into a single piece of work.

    The face mapping system made it possible to follow intense performances, which was impossible until now, thanks to the use of the state of the art 1000 fps projector DynaFlash※1 and ultra high speed sensing. The initial dilemma of speeding up the tracking to the detriment of performance latitude was resolved by the WOW team, Professor Watanabe, and Tomoaki Teshima (EXVISION), who trimmed several milliseconds during a trial and error period that lasted approximately three months, enabling the completion of this system※2. The projected image looks like it is integrated into part of the skin, and the expressions on a subject’s face, when it is distorted or transformed, are exponentially enhanced.

    *1: Jointly developed by the Ishikawa Watanabe Laboratory at the University of Tokyo and Tokyo Electron Device, and commercialized by Tokyo Electron Device.
    *2: Dynamic projection mapping technology, developed by the Ishikawa Watanabe Laboratory at the University of Tokyo, was used for hand tracking and projection mapping. Face mapping technology, developed by WOW Inc., was used for facial tracking.

    最新鋭1000fpsプロジェクターと超高速センシングによるリアルタイムトラッキング&フェイスプロジェクションマッピングの最新作「INORI -PRAYER-」が公開。本作は、浅井宣通(WOW)の呼びかけにより、TOKYO( )、ダンスユニットAyaBambi、東京大学石川渡辺研究室とのコラボレーションから誕生した。

    本作は、ディレクターを務めた谷川氏 (TOKYO) が提案した「生命」をテーマに楽曲を制作したところから開始。楽曲から受けたインスピレーションを元に、クリエイティブ・テクニカルディレクター浅井(WOW)とCGディレクター阿部伸吾(WOW)がビジュアル制作とプログラミングを構築。更にAya Sato氏がコレオグラフを作り上げ、TOKYOが映像作品として完成させた。



    ※1: 東京大学石川渡辺研究室と東京エレクトロンデバイスが共同で開発し、東京エレクトロンデバイスが製品化。
    ※2: 手のトラッキング&プロジェクションマッピングは、東京大学石川渡辺研究室が開発したダイナミックプロジェクションマッピング技術を使用。顔のトラッキングは、WOW inc.が開発したフェイスマッピング技術を使用。


    Staff Credit
    Creative Director / Technical Director:Nobumichi Asai[WOW]
    CG Director:Shingo Abe[WOW]
    Programmer:Atsushi Yoshimura[WOW]
    Assistant Producer:Ayaka Motoyoshi[WOW]

    Director / Editor:Eiji Tanigawa[TOKYO]
    Director of Photography:Senzo Ueno[TOKYO]
    Producer:Toshiyuki Takei, Shinya Masuda[TOKYO]
    Production Manager:Minami Chiwaki, Yuma Yoshimura, Kohei Takayama[TOKYO]
    Making Director:Suzuko Ohgaki[TOKYO]

    Choreographer:Aya Sato

    Gaffer:Tomohiro Takahashi
    Light Assistant:Hisashi Morikawa, Mie Inaba, Akihiko Imai
    Camera 1st Assistant:Takashi Ideguchi
    Camera 2nd Assistant:Shibuya Hiromi, Fujii Ryosuke
    Music:Setsu Fukushima, Ryosuke Taniguchi[Ongakushitsu Inc.]
    Music Composer:Yosuke Nagao

    Colorist:Yasuo Fukuda
    Online Editor:Ryota Abe

    Mizuki Kawano [School]
    Tomoyuki Sawada [Kartz Media Works]
    Natsuki Taguchi [Kartz Media Works]

    Special Thanks
    Yoshihiro Watanabe[Ishikawa Watanabe Laboratory,University of Tokyo]
    Masatoshi Ishikawa[Ishikawa Watanabe Laboratory,University of Tokyo]
    Tomoaki Teshima[Exvision]

    Takeshi Yuasa, Kiwamu Sumino, Hiroshi Watase, Toru Yamashita
    Atsuko Kushima, Tomoaki Kiguchi

    # Uploaded 49.9K Views 9 Comments
  4. Test for an upcoming collaboration project.

    Influenced by the video game Katamari Damacy, Italian futurism and Taiwanese architect Lee Guō's ideas about the multiplicity of architectural clusters.

    Music by Daiskue Tanabe. 'cloudy water' from the album Floating Underwater.

    # Uploaded 8,854 Views 5 Comments

    I know everybody hates #Deepdream, but I really love it. However, it’s not the aesthetics that I love, but the poetry of what’s happening inside the algorithm.

    An artificial neural network which has been previously trained to recognise images from over 20,000 categories is now presented with new images that it doesn’t recognise, such as a video of my face. The #Deepdream algorithm runs this network backwards to generate new images, such that the generated images amplify the neural activation patterns triggered by the original images – i.e. what it thinks it recognises in my face. This is analogous to us looking at a cloud, and thinking we see a rabbit, and then drawing the rabbit that we think we see. And then we look at our drawing, and create a new drawing of what we think we see in our first drawing, etc.

    This in itself, is interesting as a metaphor for confirmation bias, and filter bubbles etc. But there’s more. People look at these images and say “oh look it’s a puppy-slug”, or “a bird-lizard” etc. But actually, there’s no such thing as a “puppy-slug” or a “bird-lizard”. These images are just noise with particular distributions, such that when we look at them, we can’t help but project what we know onto them. Certain patterns in the original image cause corresponding neurons in the artificial neural network to fire weakly, and the #Deepdream algorithm amplifies those features. Then we look at these generated images, activity in our brain registers those same features amplified by the #Deepdream algorithm, whether it be puppy-like or slug-like features. And then we complete the recognition process by projecting those meanings back onto the image. This is quite literally a duet of a quest for meaning, an entanglement, between an artificial, and a biological neural network.

    More at

    # Uploaded 598K Views 51 Comments

Video Painting


Ambient Video.

From Wikipedia:
"Content in this emergent form is designed to work at all times as either a highly aware foreground experience, or as passive background pieces of art...
...The concept of video paintings borrows from Brian Eno's idea…

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Ambient Video.

From Wikipedia:
"Content in this emergent form is designed to work at all times as either a highly aware foreground experience, or as passive background pieces of art...
...The concept of video paintings borrows from Brian Eno's idea of ambient music in works “must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting."

Like traditional paintings, video paintings hang on the wall to be viewed or passed over - depending on individual viewer preference in the moment."

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