So I’ve been reading a lot lately. And swimming in words returns me to writing. Or at least – some words about books.
The infinite shelves at Goodreads are responsible for the bulk of the book orders above (want to swap recommendations?). I don’t know what took me so long to finally join Goodreads, I’d long been finding it tricky to get interesting book recommendations (particularly – good fiction – compared to say music or movies). Amazon has a decent catalogue, but I’ve found it unreliable for recommending new fiction of interest. And while I prefer the hand-curation of say – the Brainpickings bookshelf, the McSweeney’s Journal or DJ Rupture’s Mudd Up Book Club (includes a pretty great collection of sci-fi set in non-anglo cities), each of those are a pretty limited lense.
Anyways, I seem to have my reading for the next while sorted, which is also going to mean some more words here over time.
And if you’re not already aware of the second-hand booksellers below, this is where I found the bulk of the above:
Book Depository (my first choice – best range, generally cheapest overall to send to Australia)
BetterWorldBooks (good range – but seems deliberately deceptive in the way they offer ‘free postage ‘ – they show cheap prices after a search, but every single time, clicking on a book found in search, shows up as a much higher price, when you want to buy it.)
As real-time video software continues to evolve, we’re starting to see some really thoughtfully considered applications – such as Millumin, by Philippe Charaund, software dedicated to “create and perform audiovisual shows”. In part, Millumin is possible because of today’s easy re-routing of video between applications (thanks to software such as Syphon on mac and Spout on PC), which has enabled some developers to focus on specialty areas, and allowed others to provide ways of usefully integrating different parts of a video workflow.
Where does Millumin fit in?
While there are a lot of real-time video tools and specialities available, Millumin’s great strength is as over-arching software – and providing useful ways for co-ordinating and controlling other software ( eg triggering and manipulating clips inside VJ software, and recompositing, mapping and sequencing that video with Millumin, easily jumping between very complex compositions).
Millumin will especially be of interest to those seeking to sync media in tightly curated shows eg syncing video with important theatrical cues, conference cues, or a specific sequence of events in a music show. Aside from the time-based controls, it’s also a pretty effective piece of mapping software – which includes a built in capacity to edge blend between projectors.
In other words, Millumin provides good control over time (sequencing) and space ( compositing and mapping). It’s a unique recipe – while there are other apps that offer more advanced portions of what Millumin does – eg Vezer‘s sequencing and timeline options, or Madmapper‘s mapping controls – there’s nothing else that quite manages to do what Millumin does. QLab is probably it’s closest competitor, with the strengths and weaknesses of each meaning one or the other will suit your workflow better.
From their site guide: 1. Drag-and-drop ﬁles from Finder to the Dashboard, and click on the cells to play them 2. Use the Workspace toolbar to move, map, warp, mask … to rotate and scale the layers directly in the workspace. 3. Change blend mode, add effects, transitions and more from the Properties Panel 4. In the Library, manage your ﬁles, Syphon servers and inputs 5. Create a Composition, then organize your media in time with keyframes
– includes ability to play compositions within compositions ( like nested compositions in After Effects)
– Also like AE – includes adjustible keyframes – change opacity, position, scale or rotation change over time to specific values.
– cue points can be added.
– pause on cue points 6. Import this Composition into the Dashboard + switch between complex compositions easily. 7. The Magic Key is [SHIFT] : maintain it to multi-select and snap items
Control of time / sequencing: Millumin’s key-framable timelines will be warmly familiar to everyone who has used video editing software, and tends to find such functions missing within VJ software. Most VJ software will show a timeline / playhead for each clip – but much more rare is a capacity to place many clips along a timeline, and easily add cue points, and easy linear arrangements. Example nice touch? Drag and drop a clip onto a timeline, then drag the end of it to auto-loop as long as you need.
Room for improvement? There are lots of little user interface quirks that could be removed / better designed. Admittedly this is partly because Millumin reminds so much of video editing and compositing software – which brings a whole bunch of fine-tuned expectations – and sets an unfair benchmark – relatively new software made by one person could hardly be expected to match the resources and foundations of established editing and compositing software.
Control of space / compositing:
Video compositors will find it a pleasure to be able to create complex compositions, and nest and even animate these comps within other comps. In this respect Millumin is the closest thing to a real-time After Effects that exists. Sequencing and switching between various comps is trivial to implement…
.. and these ‘presets’ / ‘dashboard selections’ – can be triggered from other software using midi or OSC – eg the M1-m10 presets built into a VDMX control surface window below.
Millumin can also take in as many syphon inputs as can be thrown at it – which integrates it well with VDMX’s capacity to send out many. All of these can be composited differently in Millumin’s compositions, allowing for a huge amount of flexibility and convenience. (Snap below includes sequined ninja in oyster cave footage used at recent Dark Faux Mo festival in Hobart.)
Control of space / mapping:
Millumin features great controls for multiple outputs, and features multi-screen edge blending and feathering of masks:
Room for improvement? Being able to work better with multiple projectors that have different aspect ratios to each other.
As a standalone application, Millumin has a limited range of visual effects. On the other hand – deep syphon integration means easy piping in of video from other software, for sequencing or compositing, and quartz composer integration means being able to easily add customised QC elements, effects and compositions to any of that video piped in.
– Mac OSX 10.6 or later. (PC version in the pipeline)
– 599€ (VAT not included) = A license for Millumin on 2 different computers. for 2 computers . Educational and rental pricing available by negotiation.
Millumin is very thoughtfully crafted software, with a nicely expanding feature set. And while it’s missing refinement or lacking more detailed control in a few places, it continues to develop and evolve into a fantastic and versatile tool for live video, especially with multi-screen compositing.
– Lotech (NZ) for inspirational use of Millumin @ Splore – each VJ could send a signal into the machine running Millumin, which effectively let them play on a pre-mapped structure, and for ongoing feedback about Millumin over time.
– Jem the Misfit (NZ/Aus/Ger) – for highlighting how creatively Millumin could be used for compositing.
LOGLINE: The story of legendary cult film director Alejandro Jodorowsky’s staggeringly ambitious but ultimately doomed film adaptation of the seminal science fiction novel DUNE.
SYNOPSIS: In 1974, Chilean director Alejandro Jodorowsky, whose films EL TOPO and THE HOLY MOUNTAIN launched and ultimately defined the midnight movie phenomenon, began work on his most ambitious project yet. Starring his own 12 year old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, featuring music by Pink Floyd and art by some of the most provocative talents of the era, including H.R. Giger and Jean ‘Mœbius’ Giraud, Jodorowsky’s adaptation of Frank Herbert’s classic sci-fi novel DUNE was poised to change cinema forever.
“For me, Dune will be the coming of a god. I wanted to make something sacred, free, with new perspective. Open the mind!” – Alejandro Jodorowsky
Finally got to see Jodorowsky’s Dune recently (with long-time fan, and comic-book genius, Gregory Mackay, who is is great for detailing the sordid history of sci-fi illustration). It’s an incredible story of an incredibly audacious and film…. and although that feature never got completed, the documentary shows how lots of the creative energy involved was rewarded elsewhere later.
Alejandro Jodorowsky : “I ask of film what most North Americans ask of psychedelic drugs. The difference being that when one creates a psychedelic film, he need not create a film that shows the visions of a person who has taken a pill; rather, he needs to manufacture the pill.”
El Topo – a metaphysical western.. ( see also, ‘acid western’ ), catapulting Jodorowsky into the cult director spotlight…
Holy Mountain – another quest for enlightenment, with vast and ambitious set designs… thanks to an increased budget of $1million from a Beatles business associate (John Lennon was a huge fan of El Topo).
Following the success and acclaim for Holy Mountain… his next wish was to adapt Frank Herbert’s Dune, as a psychedelic space opera, a spiritual film for transformation… And in 1974 French producer Michel Seydoux offered to finance the start of it.
Amongst the formidable artistic army gathered to make Dune :
and Salvador Dali (as the mad emperor of the universe, who insisted on helicopters, a burning giraffe and “an Emperor’s throne / toilet made from intersected dolphins, the tails forming the feet and the mouths to receive piss and shit separately. (He thought it terribly bad taste to mix the two.) .. and $100,000 an hour to sit on it”)
So the world’s greatest ‘psychedelic space opera’ never got made… but director Frank Pavich did a great job of teasing out the possibilities, ably assisted by the subtle storyboard animations of Syd Garon (director and animator of Wave Twisters, yo!). More importantly though, the director was able to reunite producer Seydoux with Jodorowsky (after 30 years!), and Seydoux not only co-produced Jodorowsky’s Dune, but also went on to produce Jodorowsky’s first film in over 20 years: Dance of Reality (another incredible film!).
Am delighted to be helping host an ACMI workshop on March 1st – with David Lublin (Vidvox co-developer for VDMX).
((UPDATE: video workshop was archived on youtube, and is viewable at the bottom of this page))
David will be delivering the workshop from New York, with high bandwidth streams of both a video-conferencing computer and his VDMX video output for workshop attendees to view. ACMI will be providing laptops with VDMX pre-installed, although people are welcome to bring their own.
This is an incredible opportunity to hear about VDMX from a core developer, and get inside knowledge about real-time video manipulation.
Tickets are limited for the workshop, +pitched at a video-artist friendly $25. Book via ACMI.
(Drop a line if they sell out, we can reserve you a spot if you bring your own laptop.)
The workshop will also be youtube streamed and later archived online (See link at bottom of page):
Comments can be left by online viewers, and there will be a dedicated section at the end, where online questions will be answered by David.
“Rail trails are shared-use paths recycled from abandoned railway corridors. Rail trails link big and small country towns and meander through scenic countryside just as railways did in the past.. Railway engines have always had difficulty climbing hills. The steepest grade of a railway line is never more than 1 in 30.. no sharp rises and no sharp bends, just sweeping curves and gentle undulations.. abandoned rail lines make superb pathways for walking and riding.” – Rail Trails Australia.
The ride itself is awesome – it’s a gorgeous, mostly tree-shaded ride, with plenty of great views, though Warburton has no station, so you need to plan for an 80km round trip from Lilydale. The Warburton end makes it all worthwhile – with the cute bicycle themed Cog Bike Cafe greeting riders at the end of the ride, and just nearby… jutting out from the trailside foliage – the temple of Boinga Bob, a sprawling marvel of DIY architecture and evolving artwork installations. I’ll let the temple photos speak for themselves.
Above – a motion graphic medley made from clips I created recently for each song of Audego‘s latest album, Beneath the Static and the Low. It’s pretty gorgeous music, listen for yourself – bandcamp / soundcloud / itunes. The Audego brief: ‘retro-abstract motion graphics we can project behind us while we play’.
VDMX – for real-time clip triggering, compositing and effects TV Paint – for generating some animation textures
After Effects + Premiere – for compositing, effects and editing. Madmapper – for arranging projection of motion graphics onto surfaces
Canon 7D – for filming of above projections.
Over the past three semesters I’ve had the pleasure of co-steering a studio elective with Caroline Vains, for Interior Design students within the school of Architecture and Design at RMIT. Loosely – we’ve been exploring the intersection of video projection, built objects and interior design.
Most interior design students are already highly visually literate, great at quickly visualising their ideas in many ways, and unlike most video oriented people I know – are fantastic at working with materials and constructing models. As well as adapting very quickly to the world of projected video, they also bring along considerable materials testing, research and construction skills.
This semester though, we added interactivity as a requirement. In addition to learning video editing, video composition, animation, and projection mapping – they needed to think about how they would include some simple lo-fi interactivity in their projects. It’s quite satisfying to report that they responded wonderfully to that challenge, and I’m happy to share some of those efforts below.
Pictured above – the crowd-pleasing bicycle powered installation by Jimmy Liu, David Dai and Nick Hsu. (‘Team Brothers!’ ). A series of reflective gears were connected to pedals and a bicycle seat, causing the carefully mapped projections to reflect around the space. This was a nice evolution from their earlier experiments which included tight geometric mapping sequences, and three dimensional arrangements of laser-cut paint splashes.
Part of the pleasure with this studio – is seeing how different skills and ideas merge, and evolve, over time. For example, Hexin Bi used his experience from scuba diving as the inspiration for his audiovisual installation, rigorously analysing the rhythm of his underwater breath…
.. while Jacinta Birchmore explored repetitive forms and texture, beginning with the intricate model below, before iterating through other shapes and surfaces.
Together for their final piece – they continued to explore scuba diving, but took it in a new direction, creating a breath activated installation. Their structure featured a layer of styrofoam balls which obscured the projector light from shining through, unless someone blows through the mouthpiece – which scatters the balls and enables the animation to bounce around inside their mirrored space (a process accentuated by a breath-powered spinning reflector ). Guest blower: Ramesh Ayyar.
Tisha Sara Dewi, Jing Yang and Ranqi Liu created a beautifully made cone structure, to be viewed from underneath:
Michael Kuo and Ting Jiang played with precision modelling, mapping and hand activated rotations:
Another blending of approaches: Stacy Rich’s topographies and Danielle Bird’s organic textural work..
.. later combined to produce a quite beautiful structure (which unfortunately had a few interactive / mechanical problems).
Tahlia Landrigan produced an intricate response to the music of Nicholas Jaar…
and Fenella McGowan’s structure built from cotton buds responded to projection beautifully, as did Nikita Demetriou’s tissue-paper hangings…
Together that trio diligently combined their efforts to produce a wooden bicycle work – which featured a pair of revolving wooden cylinders, each with precision cut holes, and a bicycle wheel on top for spinning the cylinders, altering the light patterns being emitted from within.
Aside from the prowess with construction, another trait interior design students seem to share – is a flair for dynamic documentation, very comfortably playing with formats and materials to best express their projects. Below, a couple of examples by Stacy + Jimmy.
Below, the projects grouped as part of the final exhibition … (note the bicycle pedals for activating the ‘Team Brothers’ piece at the top of the page).
And finally, studio co-ordinator Caroline, wondering where the semester has gone to…
Thanks to Caroline and the entire studio for a great semester!
Winter in Tasmania isn’t an obvious time and place for a festival, but MONA isn’t your average museum / gallery. And so began in 2013, MONA’s DARK MOFO (Jun 13-23), an annual festival that riffs on the idea of winter solstice with pagan celebrations of light ( + art, fires, lasers, feasting, etc..). This included: the Red Queen exhibition @ MONA,/ performative chefs, Skywhale (a sculptural / sky-breasted hot air balloon by Patricia Piccini), Robin Fox laser performances, and a whole host of other light and projection related artworks…
Oh, You Mean *LIGHT*..
… All of which were made irrelevant by Ryoji Ikeda‘s 5KM HIGH BEAM OF LIGHT INTO THE SKY ( aka ‘Spectra‘).
Simultaneously over at the gallery, Ryoji exhibited his Datamatics work. Really enjoyed this more than expected. It’s a very well documented and promoted work, but none of that captures the oddly calming oceanic presence it has.
The Beam in Thine Own Eye exhibition gathered together a range of works exploring the limits of perception. Zee by Kurt Hentschlager was the most spectacular of these, an intensely stroboscopic smoke filled room, that came with pages of warnings, had medical staff on standby, and completely blurred the capacity to distinguish between what was happening in front of or behind your eyes. There’s a great interview with Kurt here. Other standouts:
Ivana Franke – “We Close Our Eyes and See A Flock of Birds” -A cyclinder shaped room, with central seating, facing out against LED covered curved walls, which proceed to strobe and flash their way through a range of sequences.
Anish Kapoor – “Imagined Monochrome” – An artwork experienced one at a time – because it involved laying down and having your *eyeballs* massaged by a professional eyeball masseuse. I missed getting an appointment for this, but apparently it was fantastic.
.. And Dark (Faux Mo).
DARK FAUX MO, the festival club – is what I was there for – projection mapping a disused double-storey theatre space each night. Performers included Miles Brown, Super Wild Horses, ZOND, My Disco, Zanzibar Chanel, Mixmasters ( who cooked soup + dumplings on stage while they DJ-ed some tracks), Andee Frost, Rainbow Connection DJs and more. It was a wild space, delightfully decorated, with lots of roving performers – so it came up great in photos. (Eg collage at the top of this post – or see flickr photo set)
“There’s a lot of wonderful possibilities for real-time visual compositing with Quartz Composer. Most existing QC learning resources though, tend to emphasise the generative graphics capabilities of QC. For those with a post-production, animation, motion graphics or VJ background – QC’s composition potential can be difficult to unleash.”
Hoping to make the transition to Quartz Composer a bit easier for the above kinda folk – I’ve gone and made a page which documents how various animation + post production techniques and processes can be recreated inside QC…
(eg Composite multiple video sources, Image Masking, Pre-framing video into compositions, Working With Layers from Photoshop, Nesting + Pre-composing in AE, Inverse Kinematics￼, camera paths.. etc).
Learning Quartz Composer: A Hands-on Guide to Creating Motion Graphics with Quartz Composer
“Whether you dream of live visuals, interactive installations, Cocoa apps, dashboard widgets, or extra awesomeness for your film and motion graphics projects, Quartz Composer will enable you to develop beautiful solutions in amazingly short periods of time…”
“….To make up for all the gaps in video tutorials and forum posts scattered around the interwebs we wrote a book…”
A Quartz Composer book has been long desired by the real-time video community, given the combination of its unique capabilities and severely undercooked documentation online. Hats off to Graham and Surya for rising to that challenge, and helping expose QC’s potential for visual artists of many flavours.
These days a book inevitably also means an accompanying DVD of video tutorials (which can also be accessed online by those who buy the PDF, book code needed), and an extended support website (ILoveQC).
Who Should Read This Book?
According to the authors – Maker types /Motion graphics designers, film makers, VJs, artists, interactive programmers, and Cocoa developers. If that’s you – this book will help – “…even the unsophisticated user into creating art projects, visuals for a band or party, wild Preface screensavers, and RSS-powered trade-show kiosks. For anyone with a programming background, the material quickly opens up a new world of visual potential”.
Who shouldn’t? “Advanced Quartz Composer users looking for detailed knowledge about using GLSL and OpenCL, or creating your own plugins in Objective-C..”
“Coming from a non-programming background, I’ve found some of the concepts and structural logic of Quartz hard to grasp, and the engineerish manual doesn’t help much. Kineme.net and the QC mailing list – seem helpful, but also populated by mostly advanced discussions – which tends to stifle introductory questions and beginner problems. So I found myself trying to learn QC by forcing myself to explain what I was learning about it as I explored it.”
This scattered learning approach lead me to writing up these QC tutorials…
What I found myself really craving was a learning resource that broke down the structural logic of QC, and which explained some of the principles in ways that related to how I wanted to use it as a compositing tool. And this, the ILQC book mostly delivered – using deliberately plain and simple language, and making no presumptions about animation or programming knowledge. A quick glance over their contents page, gives an idea of the book’s scope:
What is Quartz Composer and Why Should I Learn it?
The Interface and Playing a Movie
Adding Visual Effects
Using LFOs, Interpolation and Trackballs to Move Stuff
MIDI Interfacing (Getting Sliders and Knobs Involved)
– The examples are well chosen, and build up on skill levels as the book progresses
– The book examples and video tutorials correspond really nicely to see each other
– There’s a good emphasis on concrete examples, while explaining the principles that make it possible
– That said, found myself wanting some more explanations of underlying concepts occasionally
– Gaps? Would’ve liked some more advanced exploration of:
how ‘timelines’ and ‘queues’ can be utilised within patches
‘structure’ and ‘multiplex’ related patches
‘render in image’ and ‘rendering’
the composition process in QC, explained relative to composition software such as After Effects… giving a bit more of an explanation of how the overall 2D / 3D possibilities work, and how they could be utilised / explored in many directions..
Ok, ENESS – you had me at ‘projection mapped kinetic sculpture’. The Creation Cinema – seen above, is now installed at the Melbourne Museum as part of First Peoples, an exhibition celebrating ‘the history, culture, achievements and survival of Victoria’s Aboriginal people.’ It’s a gorgeous installation, located inside a circular room, which is in turn enclosed by intricate layers of wood. Once inside – the sublime smoothness and grace of motion immediately captivates. It’s something that animators strive for with onscreen movements, but is so much more satisfying to witness with moving physical parts. Within that darkened egg of a room, the sounds, video and slow relentless movements of the wing fragments all add up to quite sublime effect. Fantastic installation, and viewable for the next 10 years!
The slow fade out of Melbourne’s summer = an opportune time to re-spark the skynoise engines. It’s also likely I just miss writing things longer than 140 characters. Especially since I’m just about to finish reading a 3000 page novel ( The Baroque Cycle, Yo!). Regardless of the roots….. expect some fruits.. scattered across the next few months – riffs about visual culture, and likely some weirder tangents too. That’s what ma bones are saying. And sooner than that – some long overdue reviews:
Millumin (interesting timeline based visual performance software)
Below – the summer that kept skynoise drooling on its pillow:
Dec 2012: Stereosonic – Touchscreen video booth installations for an energy drink tent. (photos got animated, projected and sent online.) Sampology at Falls Festival Dec 30 ( Marion Bay ) + Dec 31 ( Lorne ) ( Mixing camera sources with Sampology’s live video).
At the Adelaide Festival – did live video for The Cumbia Cosmonauts at the fun pop-up venue, Barrio. The theme for the night was ‘Animal House’ – which meant there was a camel, piglets and geese nearby, as well as dog masseur doing live demonstrations on a table.
And Then It Was Now:
– Developing an audiovisual performance for Wide Open Spaces, a wonderful desert festival held out near Alice Springs in May. Longtime collaborator Suckafish P Jonez is back from Barcelona, and we’re excited to be exploring AV again. Weekly rehearsals!
– Am co-hosting a studio elective at RMIT within the design faculty, looking at video production, projection and installation – from an interior design perspective (which tends to include a lot more materials and building related research / development). It’s a fun studio, which uses mapping processes, and comic / graphic novel storytelling techniques to help inform video installations.
– Am slowly rolling out a series of updates to the skynoise.net/projects page, finally uploading documentation from a range of projects… including the snippets below, developed for 360 last year.
Elsewhere: I PREFER VIMEO: ((Better quality encoding/resolution/interface/community comments etc)) OTHERS PREFER YOUTUBE: ((More eyeballs. And clients sometimes want it here.))
FACE IS THE PLACE : ((Finally succumbed – click facebook.com/JeanP00LE – for all your Zuckerborgian messaging / subscribing / liking needs)).
Above : more proof that Space Is The Place…. at least when it comes to Mexi-Australian tropical bass genres.
That’s the fruits of a few quick projection and filming sessions with the Cumbia Cosmonauts, featuring custom graphics made by the CC VJ – Martin Hadley (I especially liked his spaceship control deck!). I’d like to think if there’s ever a Mexi-Australian space program, that it looks something like this… ie has that Ed Wood in space vibe about it, maybe with styling by Lee Scratch Perry & Sun Ra.
The Cumbia Cosmonauts are a Melbourne band who are celebrated around the world with their take on Mexico’s cumbia music, and so fittingly, they release their new album, Tropical Bass Station, on the Berlin label, Chusma records, on Nov 23, 2012. The track ‘Our Journey To The Moon (And Back)’ comes from that album.
Developed and performed for the Graphic Festival – it was an audacious project – inside a tiny time frame, create 18 songs and animations to reinterpret or remix the books of Dr.Seuss for the stage. It never felt like enough time – and yet, the amazing zoo / crew at Elefant Traks pulled it together and nailed a dynamic audiovisual smorgasbord (that apparently had some of the Seuss publishing folk moved to tears!).
My role was to develop and live trigger the animations for the show, which was akin to developing a feature film in 6 or so weeks.. while liasing with around 20 different musicians… “hey man, I’ve got this new idea for a beat / I’ll get you those lyrics soon.. etc etc” – so I wasn’t surprised to find myself still rendering out clips on stage, right up to the last minute.
I’m going to put up some more animation info later, over at skynoise.net/projects, but for now, while still floating, I wanted to put out a huge thank you to:
– Jono ‘Dropbear‘ Chong + Darin Bendall, who did an amazing job, animating half of the tracks between them.
– Urthboy – who oversaw the crazy production, as well as performed throughout the show
– Unkle Ho, who helped tie together the visual production, and developed his own flash-based interactive visuals for the show, AV jamming on a wii-board to Green Eggs & Ham, with Jim from Sietta + Angus from Hermitude.
– Luke Snarl Dearnley, who did a stellar job as technical producer, keeping the whole show smooth as butter.
– Owen Field, who covered all the logistics with grace and calm…
And that list could go on and on – there were endless Elefants who who were such a pleasure to collaborate with…
Some Elefant clips:
X-Continental, a clip I did for the Herd back in 2001. Urthboy, Ozi Batla, Solo, The Tongue and L-FRESH: Cipher at the Opera House
and below, Dropbear’s fantastic animation for ‘And To Think That I Saw It on Mulberry st’, which was performed as the first track of the show, by Urthboy, Jane Tyrrell + Angus from Hermitude. Ozi Batla had just given his show-intro in an aviator costume, and hooded Urthboy came on to do a quick rap about Dr Seuss, before pulling back the hood as the lights came up, the decks started up, and MCs roamed the stage with this as backdrop: