Filmed at the debut ‘Yearning for the Infinite’ show at the Barbican in London on 28 September 2019. Warning: this video contains flashing images!
“It was exciting to build this show for the Barbican. It’s one of my favourite venues in the world and they encouraged me to go big. So I turned the whole space into a multi-layered canvas and set out to audio visualise the infinite. I collaborated with many visual artists and academics, each chapter using a different form of infinite visual structure on which I also based the music as a score. The result was an intense live show, somewhere between classical, techno, theatre, and cinema. We couldn’t capture the true 3D effect of the semi-transparent screen layers on film, but Tegid [Cartwright, the director] has done a great job showing the vibe of the evening, which was pretty special. Big thanks again to the Barbican, all of the visual and musical collaborators and team who helped put it all together, and everyone who came along to make it what it was.” – Max Cooper
The whole project is explained in more detail here.
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1:33 A Fleeting Life (feat. James Yorkston) / Video: Kevin McGloughlin
4:43 Let There Be / Video: Thomas Vanz
8:34 In Pursuit of Ghosts (with Tom Hodge) / Video: Kevin McGloughlin
11:28 Repetition / Video: Kevin McGloughlin
17:20 Parting Ways / Video: Maxime Causeret
24:27 Penrose Tiling / Video: Jessica In
29:21 Live Glitch Jam / Video: Platonic by Páriac McGloughlin
32:10 Hope / Video: Andy Lomas
38:08 Circular / Video: Páriac McGloughlin
43:32 Morphosis / Video: Memo Akten
51:03 Symmetry (with Tom Hodge) / Video: Kevin McGloughlin
54:52 Nanotech (feat. Wilderthorn) / Video: Sage Jenson
59:51 Void / Video: Jessica In
1:06:58 Perpetual Motion / Video: Nick Cobby
1:13:02 Aleph 2 (feat. Adam Betts) / Video: Martin Krzywinski
1:20:20 Transcendental Tree Map / Video: Nick Cobby & Martin Krzywinski
All tracks published – Manners McDade Music Publishing Limited (P) and (C) MESH under exclusive license to Phases 2019.
All tracks written, arranged, and produced by Max Cooper.