Fractals made in real-time with video feedback. The operator at the helm of the Video Feedback Apparatus creates fractal sets within other fractal sets, cell structures, trees, insects, tentacled primordial creatures – all live, and in real-time, with one hand on the tiller producing movement, the other hand on the monitors’ hue/contrast/saturation/brightness knobs. About the left and right fractals: The fractal on the left side of the screen creates the fractal on the right side of the screen while the fractal on the right side of the screen creates the fractal on the left side of the screen. They create each other!
Made of maple, mahogany, aluminum, three cameras, five HD feedback monitors (with hue/saturation/brightness analog knobs), three Roland video switchers, two viewing monitors, two sheets of beam splitter glass, and a video input, the mechanism makes high definition analog video feedback as never before created. Here, there’s a feedback loop between two cameras and two monitor structures (each monitor structure has a top and bottom monitor with a sheet of beam splitter glass between the two). There’s also a feedback loop between the monitor structures themselves, where the image created on the left structure is sent to the right structure, while the image created on the right structure is sent to the left structure (thus, Insanity Mode). Music: the Kingdom of Leisure Feedback loops are all-important, and are present in ecosystems, geological systems, social systems, biological systems, and it’s no wonder the images created using the structure are so organic looking. Gazing into this feedback allows for insights into the magic of recursion. But where do these images come from you might be thinking, and why do they actually exist? Once initiated, they come from themselves, and exist because they exist. Imagine a dark room where a camera is looking at a screen which displays the output of that camera. The screen will stay void of an image forever until a “spark of life” (say the lighting of a match) brings forth an image, which will then continue on and on, changing through iterations. That pattern now exists within the wires of the system, long after the original spark is gone. See feedback started with a “spark of life” here: https://www.thelightherder.com/2010/0… Switching quickly between an input and the camera looking at that input on a screen instantly “traps” that image within the system, now cycling ’round and ’round between camera and screen, contorting with each iteration.
Watch a video about images “trapped in the wires” here: https://vimeo.com/508776650 But, then imagine something blocks the camera’s view of the screen, just for an instant. All of a sudden, the image goes out, and the camera sees a dark screen again, which displays what the camera sees, etc… now blackness replaces the pattern. It would be impossible to find these feedback images by looking at the wiring of the system, by dissecting the cameras and monitors. This may be like the mind – you can’t find consciousness just by inspecting the nerves and connections of the brain. The mind is a pattern that grows through feedback, iterations over time. Once that pattern is interrupted (something blocks the camera’s view of the monitor), the pattern disappears, leaving just the organic mechanism. So this may answer the question “where do we go when we die?” – the same place the snowflake’s pattern goes when the snowflake melts? Dedicated to Douglas Hofstadter, who taught me to love all things self-referential. Music: Sleater-Kinney, Steep Air
Back in 1992 the sun was shining and people were raving for weeks in nature disturbing the uptight neighbors and having a ball. A nice history lesson from the raver community.
Absolutely awesome film by Tomek Popakul. Age restricted so you need to click the link and go on YouTube but it’s absolutely worth it (bad trip warning for the last few minutes).
Original title – Acid Rain Director – Tomek Popakul Writer – Tomek Popakul Producer – Piotr Szczepanowicz, Grzegorz Wacławek Voices – Daria Bułka, Piotr Bułka, Maciej Miszczak Year – 2019 Country – Poland FESTIVALS Anima – Brussels Animation Film Festival | February 2020 | Belgium Winner Grand Jury Prize | Angers European Short Films Festival | January 2020 | France Annie Awards | January 2020 | USA Dokufest International Documentary and Short Film Festival | August 2019 | Kosovo Annecy International Animated Film Festival | June 2019 | France Sundance Film Festival | January – February 2019 | USA Rotterdam International Film Festival | January 2019 | Netherlands
“I am forever grateful for the most life changing ten minute experience of my life. It changed everything for the better. I would like to contribute in some manner and am exploring what that means” – the story of an intense DMT trip.
Auroratone films were produced by the Auroratone Foundation of America Inc. in Hollywood, Los Angeles, California. The films showed crystal-like abstract color patterns that changed and blended with each other. The patterns were produced by using crystallizing chemicals and polarized light, which were then synchronized to a variety of recorded musical tracks. The process was developed by English psychologist and scientist Cecil Stokes, who was the founder and technical director of the company. Stokes was issued patent 2292172 on August 4, 1942, for “Process and Apparatus for Producing Musical Rhythm in Color”.
The films were combined into a thirty-minute-long color movie entitled Music In Color. The first films were presented to the public in 1940 in San Diego and were then shown at various theaters in the United States and Canada.
The Daily Psychedelic Video 