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of voxlab page 5 paula court page 6 pamela z justin stephenson the faceless forces of bigness justin stephenson is laughing and thinking while trying to come up with some descriptions of what his project is it s almost like surfing stephenson an award winning filmmaker is talking about the faceless forces of bigness ffob it all started as a collaboration between the video art designer and a few longtime friends michael philip wojewoda john d s adams chris stringer and kurt swinghammer all venerable well respected artist musicians in their own right we use analog modular synthesizers and feedback loops to create generative music it s all random and we re all out there in the ocean just trying to shepherd it explains stephenson who has been in demand in canada for his skills as a director and motion design specialist his previous credits include the complete works director the secret path animated documentary and robert lepage s ewartung and bluebeard s castle with the canadian opera company justin stephenson is laughing and thinking while trying to come up with some descriptions of what his project is it s almost like surfing stephenson an award winning filmmaker is talking about the faceless forces of bigness ffob it all started as a collaboration between the video art designer and a few longtime friends michael philip wojewoda john d s adams chris stringer and kurt swinghammer all venerable well respected artist musicians in their own right we use analog modular synthesizers and feedback loops to create generative music it s all random and we re all out there in the ocean just trying to shepherd it explains stephenson who has been in demand in canada for his skills as a director and motion design specialist his previous credits include the complete works director the secret path animated documentary and robert lepage s ewartung and bluebeard s castle with the canadian opera company justin stephenson is laughing and thinking while trying to come up with some descriptions of what his project is it s almost like surfing stephenson an award winning filmmaker is talking about the faceless forces of bigness ffob it all started as a collaboration between the video art designer and a few longtime friends michael philip wojewoda john d s adams chris stringer and kurt swinghammer all venerable well respected artist musicians in their own right we use analog modular synthesizers and feedback loops to create generative music it s all random and we re all out there in the ocean just trying to shepherd it explains stephenson who has been in demand in canada for his skills as a director and motion design specialist his previous credits include the complete works director the secret path animated documentary and robert lepage s ewartung and bluebeard s castle with the canadian opera company justin stephenson is laughing and thinking while trying to come up with some descriptions of what his project is it s almost like surfing stephenson an award winning filmmaker is talking about the faceless forces of bigness ffob it all started as a collaboration between the video art designer and a few longtime friends michael philip wojewoda john d s adams chris stringer and kurt swinghammer all venerable well respected artist musicians in their own right we use analog modular synthesizers and feedback loops to create generative music it s all random and we re all out there in the ocean just trying to shepherd it explains stephenson who has been in demand in canada for his skills as a director and motion design specialist his previous credits include the complete works director the secret path animated documentary and robert lepage s ewartung and bluebeard s castle with the canadian opera company justin stephenson the faceless forces of bigness the group has been together for almost 20 years over that time stephenson has been trying to get the video to respond to the audio the computers were so slow back then and the software just wasn t up to the task i ended up performing the video as opposed to allowing the sound to drive it he explains then i recently switched to isadora and found it to be the perfect tool for this improvised audio visual experience and helped me get my bearings i was able to create tools to respond to the audio performance as isadora user dusx put it in the isadora forum there is something in creating a tool that helps you find the meaning in the content when we were setting up and i started to see the picture responding to the audio i felt like this was the thing i had been trying to achieve for all these years with ffob stephenson says he was particularly pleased with the software s lack of latency the ability to have up to eight discreet audio inputs the ability to used ffgl plugins and shader toy shaders and how simple it is to bring in serial inputs from arduino it s so easy it s crazy because you define the environment and workflow in isadora you can work through complex ideas very quickly the group has been together for almost 20 years over that time stephenson has been trying to get the video to respond to the audio the computers were so slow back then and the software just wasn t up to the task i ended up performing the video as opposed to allowing the sound to drive it he explains then i recently switched to isadora and found it to be the perfect tool for this improvised audio visual experience and helped me get my bearings i was able to create tools to respond to the audio performance as isadora user dusx put it in the isadora forum there is something in creating a tool that helps you find the meaning in the content when we were setting up and i started to see the picture responding to the audio i felt like this was the thing i had been trying to achieve for all these years with ffob stephenson says he was particularly pleased with the software s lack of latency the ability to have up to eight discreet audio inputs the ability to used ffgl plugins and shader toy shaders and how simple it is to bring in serial inputs from arduino it s so easy it s crazy because you define the environment and workflow in isadora you can work through complex ideas very quickly the group has been together for almost 20 years over that time stephenson has been trying to get the video to respond to the audio the computers were so slow back then and the software just wasn t up to the task i ended up performing the video as opposed to allowing the sound to drive it he explains then i recently switched to isadora and found it to be the perfect tool for this improvised audio visual experience and helped me get my bearings i was able to create tools to respond to the audio performance as isadora user dusx put it in the isadora forum there is something in creating a tool that helps you find the meaning in the content when we were setting up and i started to see the picture responding to the audio i felt like this was the thing i had been trying to achieve for all these years with ffob stephenson says he was particularly pleased with the software s lack of latency the ability to have up to eight discreet audio inputs the ability to used ffgl plugins and shader toy shaders and how simple it is to bring in serial inputs from arduino it s so easy it s crazy because you define the environment and workflow in isadora you can work through complex ideas very quickly the group has been together for almost 20 years over that time stephenson has been trying to get the video to respond to the audio the computers were so slow back then and the software just wasn t up to the task i ended up performing the video as opposed to allowing the sound to drive it he explains then i recently switched to isadora and found it to be the perfect tool for this improvised audio visual experience and helped me get my bearings i was able to create tools to respond to the audio performance as isadora user dusx put it in the isadora forum there is something in creating a tool that helps you find the meaning in the content when we were setting up and i started to see the picture responding to the audio i felt like this was the thing i had been trying to achieve for all these years with ffob stephenson says he was particularly pleased with the software s lack of latency the ability to have up to eight discreet audio inputs the ability to used ffgl plugins and shader toy shaders and how simple it is to bring in serial inputs from arduino it s so easy it s crazy because you define the environment and workflow in isadora you can work through complex ideas very quickly justin stephenson the faceless forces of bigness the group performed at the leading experimental music festival sound symposium in newfoundland in august 2018 ffob did a one hour set for a sold out enthusiastic audience ffob also led a workshop at the symposium we all show up with our respective ideas and there is very little talking stephenson says when asked about the kind of preparation ffob does as it is improvised the performances are more akin to conversations as opposed to being designed as shows before the show we do talk about arc such as we should start out soft go loud then quiet and then go musical and end on a bang click to watch the ffob video however he reveals they do get together to rehearse which can last up to six hours it s an opportunity for these guys who are at the top of their game to create an environment where things can evolve and devolve they re looking to extend the boundaries of what music and performance are for his part stephenson blends nature imagery text and sequences depicting acts of reading and writing using digital glitching effects overlays scaling color treatments and blurs my concern in all my work explores the relationships between language and the real the discrete and the continuous he describes i m modulating all of my clip and effects parameters with the audio coming from each of the guys when the picture is tightly linked to the audio you don t need a lot of fancy effects to create visual interest one of the most exciting things about ffob is that it is improvised we don t know what the end result will be mostly it s beautiful though sometimes it s awful we just perform and then suddenly it s done stephenson finds pleasure in responding to the moment it s liberating to work in real time the group performed at the leading experimental music festival sound symposium in newfoundland in august 2018 ffob did a one hour set for a sold out enthusiastic audience ffob also led a workshop at the symposium we all show up with our respective ideas and there is very little talking stephenson says when asked about the kind of preparation ffob does as it is improvised the performances are more akin to conversations as opposed to being designed as shows before the show we do talk about arc such as we should start out soft go loud then quiet and then go musical and end on a bang click to watch the ffob video however he reveals they do get together to rehearse which can last up to six hours it s an opportunity for these guys who are at the top of their game to create an environment where things can evolve and devolve they re looking to extend the boundaries of what music and performance are for his part stephenson blends nature imagery text and sequences depicting acts of reading and writing using digital glitching effects overlays scaling color treatments and blurs my concern in all my work explores the relationships between language and the real the discrete and the continuous he describes i m modulating all of my clip and effects parameters with the audio coming from each of the guys when the picture is tightly linked to the audio you don t need a lot of fancy effects to create visual interest one of the most exciting things about ffob is that it is improvised we don t know what the end result will be mostly it s beautiful though sometimes it s awful we just perform and then suddenly it s done stephenson finds pleasure in responding to the moment it s liberating to work in real time the group performed at the leading experimental music festival sound symposium in newfoundland in august 2018 ffob did a one hour set for a sold out enthusiastic audience ffob also led a workshop at the symposium we all show up with our respective ideas and there is very little talking stephenson says when asked about the kind of preparation ffob does as it is improvised the performances are more akin to conversations as opposed to being designed as shows before the show we do talk about arc such as we should start out soft go loud then quiet and then go musical and end on a bang click to watch the ffob video however he reveals they do get together to rehearse which can last up to six hours it s an opportunity for these guys who are at the top of their game to create an environment where things can evolve and devolve they re looking to extend the boundaries of what music and performance are for his part stephenson blends nature imagery text and sequences depicting acts of reading and writing using digital glitching effects overlays scaling color treatments and blurs my concern in all my work explores the relationships between language and the real the discrete and the continuous he describes i m modulating all of my clip and effects parameters with the audio coming from each of the guys when the picture is tightly linked to the audio you don t need a lot of fancy effects to create visual interest one of the most exciting things about ffob is that it is improvised we don t know what the end result will be mostly it s beautiful though sometimes it s awful we just perform and then suddenly it s done stephenson finds pleasure in responding to the moment it s liberating to work in real time the group performed at the leading experimental music festival sound symposium in newfoundland in august 2018 ffob did a one hour set for a sold out enthusiastic audience ffob also led a workshop at the symposium we all show up with our respective ideas and there is very little talking stephenson says when asked about the kind of preparation ffob does as it is improvised the performances are more akin to conversations as opposed to being designed as shows before the show we do talk about arc such as we should start out soft go loud then quiet and then go musical and end on a bang click to watch the ffob video however he reveals they do get together to rehearse which can last up to six hours it s an opportunity for these guys who are at the top of their game to create an environment where things can evolve and devolve they re looking to extend the boundaries of what music and performance are for his part stephenson blends nature imagery text and sequences depicting acts of reading and writing using digital glitching effects overlays scaling color treatments and blurs my concern in all my work explores the relationships between language and the real the discrete and the continuous he describes i m modulating all of my...
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