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Advanced Beauty is an ongoing exploration of digital artworks born and influenced by sound,
an ever-growing collaboration between programmers, artists, musicians, animators and architects.

The first collection is a series of audio-reactive ‘video sound sculptures’. Inspired by synasthesia,
the rare, sensory experience of seeing sound or tasting colours, these videos are physical manifestations
of sound, sculpted by volume, pitch or structure of the soundtrack.

The films embrace unusual video making processes, the visual programming language Processing,
high-end audio analysis and fluid dynamic simulations alongside intuitive responses in traditional
cell animation. Each artist was given the same set of parameters to work within; to start, finish
and exist within a white space, creating a seamless coherence, all sculptures sharing the
same white environment.

Using 5:1 surround sound, the films transform the screen into a digital canvas, how the
minimalism of a single, floating pixel can be as engaging as the maximalism of an
intense multicoloured explosion.

Curated by design studio Universal Everything, with a soundtrack by Freefarm, the music
studio of Simon Pyke (formerly recording as Freeform on Warp, Nonplace and Skam) Advanced Beauty
is an international collaboration, taking in a family of artists from London, Russia, New York,
Japan, Buenos Aires, Glasgow to San Francisco.

This collection of films in the first in a series of exhibitions, with upcoming commissions
for the Victoria & Albert Museum, London and galleries in Europe, USA and Japan

Buy @ Warpmart

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Recent Live Review at Mono (Author unknown)

"Many years ago, when I first saw Autechre at Manchester’s Roadhouse (it must have been around 1995), they insisted that all the stage lights be turned off when they came on. The result was two barely discernable figures in the gloom – the ultimate in invisibility on stage. Or so I thought. Sound and animation artist Konx-Om-Pax took that one stage further by crouching on the floor in the dark, behind most of the equipment, peering at his laptop. Only the occasional flash of movement gave away his position. To be honest, it was no less dull, in a visual way, than the recent Murcof show where Fernando Corona stood in full view staring at his Apple. At times Konx-Om-Pax’s music was extraordinary. One track resembled the sound of dying pinball machines blitzed in a hail of white noise: another a beautiful, looped prepared piano melody gradually attacked by a plague of viruses. It was difficult listening at times, but totally absorbing. The most bizarre track of all was the final one – a completely straight and funky slice of minimal techno that seemed to beam in from another set altogether."



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Grafik Magazine - Talent Profile - April 2008