A visual accompaniment to the The Chemical Brothers album ‘Further’.
Released as joint CD / DVD. Performed as a live show at The Roundhouse, London and Sonar Festival, Barcelona.

Photographs from The Roundhouse, London and Sonar Festival, Barcelona
Production Design: Tom Lesh

Another World: Live at The Roundhouse, London

Horse Power:

Album artwork and Billboard based on ‘Further’ Visuals.
Art Direction: Adam Smith And Marcus Lyall
Design: Tom Hingston Studio
Photography: Jez Tozer

We Weren’t Born To Follow

When We Were Beautiful

Livin’ On A Prayer

Music Video

TVC

Agency: UM
Production Company: Global
Director & Creative: Caswell Coggins
Technical and Creative Realization: The Rumpus Room
Producer: Phil Tidy
Post Producer: The Rumpus Room
Software Development: Field.io
Location Film Units: Global
Offline Editor: Seb Duthy
Grade: Marcus Lyall + Rushes
Sound Post: Envy

Exhibited at

Becks Fusions at Castleford Arena, Manchester, September 2008 (Prototype)
Takeaway Festival, at The Science Museum’s Dana Centre, London, May 19th – 29th 2009.
Watermans Arts Centre, Brentford, Sat 6th March – Sun 18th April 2010

A while ago, I filmed 25 people individually in a recording studio. I played them each note in the classical human vocal range, and asked them to sing it for four seconds. This was surprisingly difficult, even for more experienced singers. Few people could sing in tune, or cover anything like the vocal range I asked for. But the attempts were valiant, and the results were varied and unique.

I then edited these performances into a series of note-long movies. With the programming expertise of artist/code genius Evan Raskob, I developed a custom computer program that allows these movies to be played back in the manner of a vintage Fairlight synthesiser.

The result is an fully-playable instrument that allows this amateur choir to be played like a piano, with three octaves range, twenty notes of polyphony and pressure-sensitivity. The instrument has been field-tested by Chad Lelong, a professional jazz pianist.

Uniquely, it also allows the singers to be seen as they perform. A dynamic visual composition is built up as the instrument is played. Their faces are projected onto a group of identical shapes, to form a ghostly disembodied choir.

I work a lot at visually interpreting existing music. Pitch Control looks at the reverse idea, where musicians adopt their playing style to achieve a pleasing visual composition. During testing, Chad, our pianist test pilot, instinctively altered his playing style to make it ‘look better’. Pitch Control also subtly explores some of the issues surrounding ‘user-generated content’, particularly ownership and authorship.

Links:

http://www.wired.co.uk/news/archive/2009-05/19/takeaway-festival-of-diy-media.aspx

http://www.rexfeatures.com/search/?kw=takeaway+festival&iso=GBR&viah=Y&lkw=&stk=N&sft=&search_oldest.x=-1

http://www.jotta.com/magazine/video/96/the-takeaway-diy-media-festival

Prod Co: The Pound
Agency: Publicis Mojo, Melbourne.

Prod Co: FlatNose George
Creative Director: Adam Smith
Production Design: Tom Lesh
Lighting: Ricardo Lorenzini

Live at Olympia:

Hoops: Kinetic Sculptures by Ivan Black

Hey Boy Hey Girl: Audio-driven Oscilloscope patterns by Marcus Lyall and Robin Fox.

Show design: Artfag (Doug ‘Spike’ Brant & Justin Collie)
Prod Co: KPX Video

Arena Show

Stadium Show

Video Sequence from ‘We Got It Goin’ On’

Exhibited at:

Permanent Collection: Australian Centre For the Moving Image

Experimenta’s “House Of Tomorrow”: Victorian Arts Centre: Sept 2003.
“House Of Tomorrow”: National Gallery of Australia: 2003
“2004 – Australian Culture Now”: ACMI, Melbourne: July 2004
“Multimedia Arts Asia Pacific 2004″: Singapore: Sept 2004″
I Though I Knew But I was Wrong”: South-east Asian Tour: Sept 2004″
3rd Seoul International Media Arts Biennale”: Seoul, South Korea: Dec 2004″
Under The Radar”: FACT & ICA Galleries, UK: Nov 2006

Links:

http://www.ica.org.uk/Experimenta%20Under%20the%20Radar+12289.twl

http://www.acmi.net.au/2004exhibition.aspx

http://www.time.com/time/magazine/article/0,9171,661294,00.html