Bunai Carus – Indigo

Bunai Carus fell into a blue mood. From Utsah Park fires, to the oceanic Kern Arc, beats and melodies turn with Ultra Violet, and runs with paces. The indigo sun blow its strange colour storm to wipe the slate clean, like the exuvia leaves place to a new life cycle.

Bunai Carus from Montpellier in France came up with their sixed EP on Symbioticcube and we totally love the summer vibe. It is time to relax and indulge into colors and enjoy the flow of the living world around us. The tunes have been mastered especially to be fat and loud with standing basedrums on stage for you DJ’s and at the same time it is that kind of dense pad music that can stimulate your relaxed evening just in the right way.
Enjoy and share please.

Get it for free in our brandnew store!


For those who prefer soundcloud and not our great new VVVVJS player that you see above:

Showreel / Project Review 2013 David Gann

A selection of projects that happened in 2013.
I work as a Software Developer and Designer of Interfaces, Graphics and Sound.
For further informations about projects or if you are interested in hiring or booking me, please contact davidgann@symbioticcube.com

David Gann Showreel / Projects Review 2013 – Interfaces – Graphics – Sound – VVVV from leaving the planet on Vimeo.
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Featured Projects in this Video:

Human Genome Explorer
Human Genome Explorer – Former BA Thesis in 2011 continued and exhibited at Ars Electronica Festival 2013

MedEl Company Table
Interactive Multi-User Touch Table for exploration of the achievements of the company MedEl. Credits: Ars Electronica Solutions

Architectural Projection Mapping for A1 in Vienna
Credits: Ars Electronica Soltions

Mapping the Atlas of Uncertain Territories
2 Projectors / 4 Channel Installation made together with Tzeshi Lei at NumaCircuit Festival
Read More here: symbioticcube.com/numacircuit-openstreetmap/

Exoskeleton Project
Read more here / Watch full tutorial: symbioticcube.com/exo/

Leaving the Planet
AV Perfromance

AVActivst Software: Waiting for public release

Obviously there is a lot more to write about but there is not so much time! So for now, just enjoy the video.

Robotinity – The Robot Society

Robotinity – The Robot Society
by David Gann

In 2013 Hideaki Ogawa, the curator of the Robotinity Exhibition of the Ars Electronica Center, asked us in an seminar to write an essay about the following question:

„What is the Robotinity in your country?“

I decided to publish the essay here. I hope that the reader can find new aspects and connections for further thoughts and discussion.
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When we were child’s we used to play a lot at interesting places. There were secret places in the forest, in the lawn, in the cellars of our houses, dangerous places on roof tops and special places like the painting factory next to our house. This was the first time I encountered a real robot. It was one of those fairly modern robot arms in red with black sleeves on it. Maybe one of the first with the relatively compact design you would still encounter in most of the factories today. From this time on, it must have been around 1995, the term ‘robot’ was clearly lined out and occurred in an steadily rising frequency in the world I grew up.

About one or two years later, I discovered two boxes full of sci-fi books from the 60’s, 70’s and 80’s. Through that, I was confronted with all the hot topics that those authors where discussing so full of imagination but still extremely serious and most of the time on the top of what was thinkable from a scientific and technological point of view, 20 to 30 years before I was born. It was a fascinating world that I was thrown in, full of cold war metaphors, rockets, spaceships, extraterrestrial life, planets, moons, super intelligences, black holes, galaxies, pulsars, super novae, other dimensions, time travel, space-time singularities, hibernation, completely different models of societies, food for everybody, intergalactic imperiums, post-apocalyptic worlds, atomic wars, vaults , mutants, telepaths, telekinetic skills, fusion reaction, quantum teleportation and ROBOT’s. Everywhere. The future was full of robots and I was very soon an expert in robotics. I knew everything from the importance of Isaac Asimov’s three rules of robotics over how to program a positronic brain to the different models on how they can walk on different amount of legs, roll, float, or be attached to something. Around this time I also learned the Sentence of Pythagoras and was starting to hack the computer of my dad which still had a floppy disc.

 issac asimov

When computers came into the game things were getting more concrete anyway. Synchronizing my life from early years on to the biorhythms of machines had a bad impact on my sleeping habits. I learned that the future from the past as I knew it was not the present of today. That there were no positronic brains and programing PASCAL was refreshing, too. I also realized that there where other generations growing up in the cities that I was exploring in the meantime, which missed the
serious science fiction from the past completely and knew the future only from rare, action-focused and scary movies. Also the hippies were dead. All the good hope from these days, hope in technology and hope in nature was destroyed by the imperialistic and capitalistic spirit that started somewhere in the deepest middle-age and at last won the evolutionary fight of individuals versus mass dynamics. Resource wasting products were flooding the 21 century even more than I knew it from the 90’s and there were no super intelligences that were regulating and maintaining peace and welfare for everybody.



Instead the machines had turned into the biggest threat for our planet and its inhabitants. The global industry and economics had grown into an unstoppable moloch that was pumping oil from the deepest ground under the sea and refining it into red plastic toys with a smile on it. Most of the babies playing with these toys were sitting in cars that were produced by robots and adults were driving those car, consuming robots manufactured food.

While the biodiversity was exponentially decreasing to zero, only a handful of people were really benefiting from this, a bigger part of the people were arranging themselves with the circumstances and didn’t see any alternatives, and the majority of people were seriously suffering from it. I was born in Germany and the things that I saw the most in my life were cars. It took me a while to grasp the immense proportions of the things that were going on and to realize that it was not normal.


In 2013 we reached the limit of 500.000.000 cars that are populating and polluting planet earth [1]. With a population of people it means that about 32% of earths population could fit in those cars if you are talking about 5 seats per cat. Or in other words, thinking about 1,5 tonnes condensed metal and plastic per car we come to the conclusion that we are talking about 750.000.000 tonnes of material. I won’t even start to approximate how much energy is needed to produce the raw materials, to assemble everything and to transport it to the paying customers.

This massive amount of work would not have been possible without machines. 100 years ago, the biggest advance in technology was the automobile. From there on, nothing changed with the actual concept of transportation, just some minor changes were made to keep the development interesting for the light-minded customer. At the same time other promising more sustainable and less wasting ideas and technologies got suppressed.

The real advanced were not made for the cars, but the manufacturing process that was producing them in an ever-increasing speed and efficiency. Robots replaced human workers. High-tech factories nowadays have big areas where only a few people are allowed to work with special security clothing, because these production halls are full of robot arms and toxic air. There are about 1.000.000 industrial robots existing in the world today, 150.000 alone in Germany. In comparison: There are about 25.000 humpback whales and about 9.000 blue whales left in the oceans of this planet.

robots in germany


Cars are not the only thing they produce. You can not think away robots from most of today’s production chains. Try to just think about the military industry. Weapons, ranging from small hand guns over massive bombs to aircraft carriers are only possible with robots. A big part of the worlds nations primary industry has to do with the military. Germany is on the list.

Money turned the good robots into the bad robots and they were not yet smart enough to understand, as it seems. In fact, no one is controlling them, but they are controlled by the implications and causality of the monetary system of this world.

QuadcopterDec. 17 airpower summary: Reapers touch enemy forces

Around 2005 the US military started using drones in Afghanistan and Iraq. Already in 2012 I heard rumors about drones being used for the surveillance of peaceful demonstrations in major cities in Germany and other countries in Europe. Some time before I saw pictures of Samsung war-robots being used at the Korean
boarder and some time later Youtube was flooded with ugly robots mounted with machine-guns and soldiers wearing AR-glasses and exoskeletons. Autonomous shooting-robots in the air, everywhere. What happened to the three laws of robotics?

 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.

2. A robot must obey the orders given to it by human beings, except where such orders would conflict with the First Law.

3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Laws.

Obviously, only the good guys have red about it. Nevertheless, I started the year 2013 with the feeling that the future that I was waiting for had finally arrived, because of different indications.

People had successfully started to organize them in a proper way and a lot of promising open-source projects invite to join developing technology for a better world. Lego, 3D Printers and cheap servos and Arduino enables everybody to jump right into robotics. There are programming libraries for almost everything that can be done with the computer.

But from my bad feeling about the contradiction between the world as it is and the world I learned how it should be, I am still a bit careful with being happy about robots that are having faces now and are interacting with people in a friendly way.

I am also careful about personal quadrocopter drones that you can control with the tip of your finger. As much as I see how useful a personal drone can be for a hacktivist [3], as much I see how fast the existing ‘bad’ industrial infrastructure can adapt to such technology and mass produce them
just for the sake of money without asking for what it is used. In the end it would be used to fight unnecessary wars or support fascist regimes anywhere in the world. These drone swarm robots could potentially control whole cities without anybody having a chance to move out of the house.


The risks are not just there in the physical devices and machines. Also the internet is already a flourishing habitat for so-called ‘bots’. Of course spam is not the biggest problem in our world so far. But as the virtual more and more moves into our physical environment, it has an ever growing effect on our daily lives. For example, I see the benefits but also the problems with Google Glasses and AI that is accessing your visual cortex over an omnipresent network.I see the technology that we creative people develop with a smile in the face and with an open hand to everybody, already being abused by the military in many cases. And there are still cold war like threatening bubbling coming up from these people who have so much destruction capacity that we creative people seem meaningless against it with our creations.

As machine learning and feedback control is advancing and robots are building better robots everyday, we are constantly heading towards a technological singularity that yet has to prove, if it will overcome the baby hick-ups of our civilization and is able to create a world in which humanity can exist next to each other and together with Robotinity in a way in which the ecosystem doesn’t collapse within a few decades, or if it is maybe already too late and the machines will only wake up to see that for some tragic circumstances, they have become the dominant life form on this planet.



[1] Umwelt- und Prognose – Institut e.V. ‘Folgen einer globalen Massenmotorisierung’
[2] Statistikgrafiken VDMA 2011
[3] http://guerrilladrone.feenelcaos.org/

Works from UNC [VVVV User]

Since a long time I wanted to make a regular blog post session about extraordinary VVVV Users. So let’s get it started. Better don’t think too long about who to start with first:


Okey if you had goose-skin and a sweating forehead for the moment, you are probably a VVVV user, too. If not watch this video from three years ago and then read on.

quite – zeo-x-s from unc on Vimeo.

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Yes it’s impressive. Basically you saw VVVV acting as the host for Unc’s custom ray-tracing shader which utilize heavy boolean subtraction, fractals and other algorithms that can be by any means considered as magic.

Interestingly Unc is from St. Petersburg, currently working with Ivan Rastr, which is run by another very interesting VVVV User, namely bo27. Unc is also well know in the demo scene under the group name quite.

If you browse the VVVV Node list you also can not avoid shaders by unc. A big part of the TextureFX nodes are contributed by him and also countless of other nodes such as cubemap modules or atmospheric effects, that you find scattered all over the place on the VVVV forums.

I just remember that when I started VVVV the PPglow contribution was one of the most important ones. You learn a lot from this one as a newbie.


In the following Video you will see the power of using cubemaps and reflection in your scene. The metaballs animation is also somehow special. There is a metaballs plugin in VVVV which operates on vertex base. I think, but cannot confirm, that this video is raytraced, so this is how the metaballs can dissolve into the other object.

quite – riveurs enjienrd from unc on Vimeo.


In the next video there are a lot of morphing shapes that form a beautiful and tranquillizing composition. Also see here again how fine Texture Effects are used to enhance the whole thing. Especially here we might look at a grain fx that is modelling or at least accidental looking like a real brownian molecular motion.

ambience from unc on Vimeo.

In the last video on this page, there are more on the Vimeo page of Unc, we look at an amazing particle animation which has a surprising realistic lighting model. From what I can say the animation is using a sphere harmonic function and some particle physics.

quite – nang from unc on Vimeo.

So this was just my short analysis of the matter in which I am not as much of an expert as Unc is.
Feel free to correct me if I interpreted something wrong or anything.
If this all is interesting for you but you have not even a tiny bit of glue what I am talking about, VVVV is a very friendly tool to learn all this.

posted by VVVV user tekcor.

MIMODEK – Fungi Lifecycle, Coral Growth and Social Interaction

MIMODEK from marura on Vimeo.

A very interesting project for all those interested in the bridging of technology and life took place during the Media Facades Festival in Madrid. Marie Polakova and Jonathan Cremieux used the Media Facade of the Medialab-Prado as a platform for integrating an artificial life form in the social interaction space of the festival. Interestingly they used algorithms modelling fungi life cycle and choral growth.

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Mimodek is a dynamic and interactive installation, based on on the the principles of the living
world .
As all living systems in nature, MIMODEK reflects its own environment. It is site specific, formed
by unique, location-related data sources, and by behaviour of the visitors. Every installation
evolves into a unique virtual “ecosystem” reflecting its location.
MIMODEK highlights the delicate relation between human beings and their environment, and their
connection to other living beings with whom they share this environment.

Mimodek is build in Processing and available as open source on GitHub


We got an in-depth description from marie, and who could describe it better then the makers itself:

Conceptual project description

Cities around the world seem to share the same pattern – their inhabitants highly
value nature. City dwellers seem to search natural habitats whenever they need to relax,
unwind,comfort or re-centre themselves. Nature in the urban environment is cherished, protected
and cultivated.
In nature, everything we lay our eyes on is either alive or it serves as a basis for life. Trees aren’t
just logs of wood stuck in the ground – they are complex living systems which themselves are part
of yet another complex living system, the forest.
When looking at the social structures of a city, these function as living systems too (and show
attributes similar to those of the living systems found in nature).


However, although similarities can be observed between these two environments, the differences
are significant.
What is the essence of this difference between the natural world and man-made (urban)
environments? What is “it” we miss in our cities and find in nature?
The above question inspired the creation of MIMODEK – dynamic and interactive artificial living
system which is based on the principles of the natural world yet “grows” from the fabric of the city.
MIMODEK is, similarly to living systems find in nature,interconnected with its environment. When
we step into MIMODEK’s proximity, we are immediately interacting with it. We cannot remain
detached observers, our mere presence is modifying it and it is affecting us in return.
Mimodek thus highlights the delicate relation between human, their environment and their relation
to other living beings with whom they coexist.

temperatura 1900

Physical Project Description

MIMODEK was originally created for the Digital Facade of the Medialab-Prado,Madrid, Spain. It
existed in three different versions. Please find further information in the “Credits” section.
At its essence MIMODEK is formed by the participants activity as well as the environmental
condition at the location of the installation.
Information about participants is obtained using a camera overlooking the area directly in front of
the installation. The camera images are processed using computer vision techniques. The
combination of camera input and computer vision is a common method for passing information
about an audience in a public space into a digital installation such as this.
Continuously updated information about participants and their locations is passed
over to the main MIMODEK software. This information is used to create an immediate response to
the participant’s behaviour which in turn forms the MIMODEK system.
The MIMODEK simulation and rendering software functions on three levels:

− I. Obtaining information about its environment:
Motion tracking the audience.
Obtaining site specific data from online sources.

− II. Life system:
Responding to environmental influences.
“Life” simulation.

− III. Display – Visual output:
Creating the image to be displayed.
Displaying the images.
Sending the images to the server for display on the MIMODEK website.



As described above, the motion tracking software provides MIMODEK with information about the
position of the participants. MIMODEK also monitors the
temperature and the humidity in the location where it is running.
In most cases, this is achieved by querying a free Internet weather service, the
Weather Underground (http://www.wunderground.com).
Optionally, if the information is available for the particular location, an external
application on MIMODEK’s server obtains data about the air quality.


MIMODEK is formed by two artificial living systems which are interlinked together into one
complex system.


MIMODEK system is partially based on “ant fungus mutualism”. This pattern of symbiosis, which
involves cultivation of fungi and, in some cases, symbiotic relationships between insect and fungi,
was chosen for MIMODEK because it is an elegant yet simple representation of the complex
dependencies we all share with our environment.
MIMODEK relies on participants who come to the installation area. Information about their presence
is translated into flakes of “food” which appear on the display as white dots.
Little light creatures (“ants”) carry the “food flakes” to the root cells of the ”fungus” organism.
This food then nurtures the whole system and enables it to grow.
A light creature (“ant”) which discovers a food source, leaves a virtual pheromone trail behind it so
as to inform its fellow creatures of the presence of food.
The creatures, however, don’t eat this food by themselves, they deliver it to the fungus. The
creatures rather feed on a particular type of cell within the fungus organism. When the creatures
are sufficiently nourished, they can reproduce and more creatures mean more carriers of nutrition
for the main fungus. When the nutrition is insufficient, the creatures begin to die out and the growth
of the whole system is slowed.

The growth process of the fungus organism is based on diffusion-limited aggregation (DLA) and is
constrained by the amount of free space. DLA is an algorithm that generates highly branched and
fractal structures. Among others, it has been used for modelling the growth and form of natural
structures such as coral.
MIMODEK’s growth is only possible when a sufficient amount of nutrition has been absorbed. When
food is delivered by the creatures, the organism decides how to use the new energy. It can either
grow a main body cell (cell A) or a leaf cell (cell B). The decision process follows a set of rules
known as an L-system (Fig.3). The A cells remain in the structure, whereas the B cells, when
mature, can be carried away by two of the creatures and be eaten by them.
MIMODEK also continuously responds to changing environmental data.
The colour of the A cells responds to air temperature at the installation site while the relative air
humidity defines how much the organism expands or retracts.
When pollution data is available, it influences the colour of the B cells. When this information is not
available, the colour of the B cells is determined by the temperature, similarly to A cells, but a
unique colour scheme is used.



It was originally created for the Digital Facade of the Medialab-Prado,
Madrid. This facade is 14.5 m (48′) x 9.4 m (30′) yet has a resolution of only 192 x
157 pixels. MIMODEK can however be easily adapted to higher resolution displays such as
projection, which then reveals further levels of detail invisible on the Medialab-
Prado digital facade. MIMODEK can be exhibited at indoor or outdoor locations.


All credits go to the mentioned Developers. Make sure to contact them if you are interested about anything.
Now let’s keep up the discussion about artificial life and media.

Klaas von Karlos – Re†urn of the Jackal [Album Review]

Dear Homies,

This time I am proud to present you the newest Release from our friends at Perfect Entropy Productions. Precisely speaking, it’s the solo release of Klaas von Karlos from Reverse Bullets, the guy who swashed over from Brooklyn NY to Berlin and is there now working as a independent film and sound producer and is also organizing events such as the propably amazing Glitch Event Series. He was playing at the Symbiotic Cube Label Release Party, too.

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Okey now let’s write a little bit about this album. First of all, if you like hilarious vocal samples, lo-fi or distorted beats and a lot of Beat Repeat and shuffle effects, you are definitely at the right address. If you are a DJ or Producer this is obviously also a good source for making mesh ups and … as an serious appreciator of experimental electronic music that is entirely produced live, it is worth the time alone to check out some new production methods.


And visit the Reverse Bullets Soundcloud page.

NUMA Circuit Festival & Open Street Map based Installation

Last week (15. of March 2014) was the pre opening press conference of the festival Numa Circuit 014. The festival takes place in Tenerife and is distributed over a couple of Venues in Santa Cruz de Tenerife, Puerto de la Cruz and other places on the island between the 15. of march 2014 to 3. of may 2014.

It is exactly the right place to get a good mixture of beach, sea and sun and geeky / arty things like live performances, installations, workshops and what ever brings together hardware hackers, VVVV, Max/Msp, Pure Data or Touch Designer patcher’s. Add a portion of traditional Spanish music, singer-song writers and performance art on top and you are at Numa Circuit.

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The festival is organized by Simone Marine ( http://io-lab.org/ ) and friends of him.
Simone aka io is a very active user on vvvv.org/, which is the reason why I got to know him ( Reminds me again to start a series of blob posts about interesting VVVV users).

So it happened that we ( the blog poster – David Gann and Tzeshi Lei ) got invited to join the festival with an AV installation and a performance. The performance is Leaving the Planet – which interested readers probably know already from this page – with me doing Beats and live sound design on the Monome and Tzeshi playing a Korg R3 Synthesizer and is singing, so she basically gained control over the melodic part of the Performance. Basically we play to the multi screen installation that we prepare there. The performance will be streamed live on Friday, 21. of march 2014 at around 22:00, London Time (so +00 h time zone ). This is the channel for the stream http://www.ustream.tv/channel/vivo-en-una-ciudad-tropical-pub-pelukas, in case anyone is bored on Friday evening.

What is new is the installation we are working on right now and that one is technically and conceptually very interesting for a lot of people probably. The following is the official description of the installation:

Mapping The Atlas Of Uncertain Territories

The human species leaves their footprint on the ground. Those footprints gradually accumulate into traces of civilization. By looking at the planet from above, we realize that there is a new layer among the geographic landscape. By iterating urban geometrical patterns over and over again, humans have caused significant abstraction of the natural habitat as a reflection of their own behaviour.

In this installation, we mediate between the conversation of the actual visible landscape and the mindscape of perspective and interpretation. The language of this conversation is the raw data which represents the human capability of measuring the world through abstraction. Using this as a source, we create endless generative and evolving geometry by triangulating the fading data points. In contrast to the macro aspect of the visual, the sound brings back the invisibility of human into a more intimate way by using field recordings. The audio-visual composition aims towards catalysing the user’s perception of time, speed and scale. The installation is using two projectors and multi-channel sound.

(Project Description in English and Spanish on the Numa Circuit page)

As we are working on it during our stay in Tenerife, here are some images from the progress. I am working on the Visuals and the Software Development and Tzeshi Lei is working on the Sound Design for the 4 channel sound. She is using Ableton Live with Max for Live, Granular Synthesis from field recordings that you get from aporee.org and the Max for Live – VVVV Bridge, developed by me during other installations in the past.

_root_OpenStreetMaps-DirectX Renderer

For the visuals we use Data from openstreetmap.org. We prepare a couple of data set’s of different cities and men made structures that we find on the map. We can also use the Open Street Map API to retrieve the data, but we decided to use prepared data as files on the disc to not rely on the internet connection.

As you can imagine, it is not so straight forward to load and visualize this map data. In fact behind Google maps or Open Street Maps there exist big rendering server farms, that provide us quickly with our requested visualization. This is something completely else then using this big amount of data in a a real-time environment like VVVV.

However, after some magic with multiple VVVV instances, it is running fine anyway here in real-time and we can use the data as a source for generative, sound-reactive graphics.

I decided to make this project Open Source as an advanced VVVV Tutorial. The tutorial will be split up in a couple of blog posts over the coming weeks. Can imagine that is helpful for a couple of people who want to do the full program from parsing data to visualizing it, working with particle systems and other graphical elements, to adding interactive sound to the project and doing the projector multi-screen setup for the final installation.

Here you see some more progress of the project. More coming soon.

_root_OpenStreetMapsClient-DirectX Renderer

_root_OpenStreetMapsClient-DirectX Renderer2

Abduct & Jorge Ramirez – EDT. AV Composition

EDT from Abduct on Vimeo.

Watch the colaborative AV Composition by Abduct and Jorge Ramirez made with VVVV and Super Collider. It is an immersive lo-fi sound responsive visualization and a noisy drone-ambient audio piece.

Audio: Jorge Ramirez www.jorge-ramirez.com
Video: Abduct http://abducto.tumblr.com/
Audiovisual composition Created in vvvv and supercollider
Generative graphics by Rodrigo Guzman
Audio: Energia de tristeza, smell in stereo, produced by Jorge Ramirez, Master by Errol Green

Abduct EDT