Reflection on TouchDesigner Summit + MUTEK Montreal 2019

Aug 17-19th, TouchDesigner Summit
Aug 20-25th, MUTEK Montreal

Mutek Montreal 2019 Artists List
TouchDesigner Presenters List

Highlight Top 1

A 40-mins Audio-visual Performance by Japanese artist Ryoichi Kurokawa – powerful 3D data renderings of ruins, world premieres piece subassemblies. The performance was taken place at the stately and distinguished concert hall, which is very different from the places that normal Audio-Visual performance happens. Before Kurokawa’s performance, I saw a few performances in the same place, but Kurokawa’s performance was the first and the only one that I was fully involved, during the 40 minutes performance, I wasn’t distracted by any other things even a second. Though there were over hunreds people in the concert hall, but I felt like there were only me and the performer at that specific place and specific time. I think there are two things that were perfectly done in Ryoichi’s work which made the work so awesome. First, the RHYTHM, the rhythm of sound and animation. Most audio-visual performances normally weren’t narrative storytelling based, but it is important to design the rhythm of the piece as the way of storytelling. When I was watching Ryoichi’s work, every time I think I kind of know what is going to happen next, he surprises me. The work goes way more than what I expected.

“The most important of all musical concepts is rhythm: the pace of events as they unfold; the regularity of that pace, or its interruption; and the overall tempo, whether it is swift or slow. This foundational concept is also essential to storytelling, whether your story is told in video, a PowerPoint presentation, a series of images or a speech.”

The Importance of Rhythm in Storytelling

Second, he considers the SPACE as part of the work. The position of his performance spot on the stage were the focusing spot of the animation on the screen behind him, which makes me feel like he is also part of the the animation, rather than a distraction that covered part of the screen. He also consider the space into his audio by using spacial multichannel sound.

Venue of the Performance

Mutek Artist page
Artist Website
A report of Ryoichi Kurokawa’s performance

Highlight TOP 2

SAT Full Dome Performance by Patrick Lechner & Peter Kutin



fuse* is a studio and a production company founded in 2007 that operates at the intersection between art and science, with the aim of exploring the expressive potential offered by the creative use of emerging digital technologies.

Dave and Gabe Touching Sound: Building Interactive Music Installations

Dave and Gabe
Dave & Gabe is an interactive installation studio that unites sound, light, and tactility into immersive experiences. They believe environments should be expressive, encouraging collaboration and amplifying the energy within. Working as artists with various institutions and brands, they explore new directions in real-time animation, generative 3D sound, and physical design.


French digital artist, Mathieu Le Sourd (Maotik) focuses his work on the creation of immersive multimedia environments and generative visuals. His work has recently been presented in various festivals around the world, such as Mutek Festival, Live Cinema in Rio, Signal Festival in Prague, the British Film Institute in London and ARS Electronica in Linz.

As lead of Moment Factory’s interactive team in 2011, Le Sourd produced several large-scale projects including a multimedia experience in the new terminal at Los Angeles International Airport as well as the visuals for Nine Inch Nails’ world tour. In 2013, he produced the critically-acclaimed immersive multimedia performance DROMOS, which was presented at the SATosphere in Montreal as part of Mutek festival.

Always in search of new challenges, Le Sourd designs his own visual tools; generating animations from algorithms and creating 3D worlds to transform perceptions of space. He collaborates with musicians, sound artists and scientists in order to continue his research into the relationship between art, science and technology.

Ali Eslami – FALSE MIRROR – VR work

What would be like if people have to live in a totally virtual world?

“False Mirror is an ever-growing City in Virtual Reality which aims to explore speculative futurism and emerging forms of inhabiting in virtual space-times as post-humans.”

Creators’ Clinic: How to Get Your A/V Art Project Ahead

Notes:: DigiLab Masterclass – Juliette Bibasse – Digital art producer, creative director and curator, head of production at Studio Joanie Lemercier

Making things realistic, feasiblle, possible by making a global point of view on Time-Space-Money-Logistic-Tech, and unpredictable things and situations

For projects I should know:
– Costs
– Tech Requirements
– Feasibility
– Adaptability

ALWAYS: Go to festivals – Museums – Galleries, see what’s new, keep your network alive, stay up to date on technologies

BEFORE a Project: Emails – Budgets – Floor Plans – 3D Plan – Travels – Accommodation – Per Diems – Detailed Schedule – Tech Rider – Anticipate Problems – Understand who is who

During Project Development: Remind Schedule and Deadlines, Keep the discussion opened, Mkae sure there is no misunderstandings, Contracts – Payments, Beging friends with the entire tech team, Being super Frind with The tech director, Keeping an eye on communication assets

Following the setup of truss structures.

DURING EXHIBIT: Document – Shoot – Pictures, Turning things on and off, Checking everything still looks great after 10 days, do special visit for special people (Making sure specific people won’t miss the installation)

AFTER: Getting paid – Press picture, press articles – updating tech rider, getting paid – thanking everyone, making a nice video report – communicate on the project, getting paid – getting your equipment back (with the power plug)

The balance between artistic and commercial projects

  1. Festival based Projects – The core of our network
  2. Gallery pieces – The possibilities of the art world
  3. Commercial commissioned projects – Testing things

Artistic Steps

0. Commission / Context / Budget
1. Idea / Concept
2. Research / Phototyping
3. R&D / Custom Technology
4. Testing / Publication
5. Full Scale
6. Final Content
7. Setup
8. Show / Opening
9. Documentation / Publication

Commercial Commission Steps

0. Client / Commission / Budget
1. Confirm Budget / Conditions
2. Confirm Schedule
3. Contract / Invoice
4. Site visit / Floorplan + Pic
5. Discussions with tech director
6. Confirm final setup / Tech Rider
7. Setup
8. Show / Opening
9. P.R / Interviews
10. Documentation
11. Payment
12. Credits / Publication


  1. Create a PDF document about the project / idea
    with a small text about the project + pictures + schematics + 3D Renders + Phototype
    A first tech rider
  2. Post online videos / pictures/ teaser / …
  3. Reach out to festivals / contact emails / head of event / curator
    > Tech rider what you are providing, what organizer must provide
    > Setup time / Constraints / Maintenance
    > Traveling / shipping
    > Biography and info about previous work / awards
    > Video teaser (Even not public, with password)
    > Expected Fee
  4. Answer to call for projects / residencies
  5. Publish / document / use social networks / share

! Do not work for free
Even if it is a small budget and / or what you are taking out of this opportunity

! Look for similar projects / Technologies
See what exists

! When possible learn and use generic equipment: trusses / stands / lights / projectors ratio / rigging / …

! Consider weight of what you will have to ship + costs
Ata carnet for customs

! Be careful with custom technologies

! Feasibility of your project: budget vs. result / change over for a stage performance / adaptable to various venues and contexts

! Answer Emails


TouchDesigner Summit

Jakob Povel “Lost in Space”
Jakob Povel “Lost in Space”
Josue Ibañez “New Interactions at Exhibitions and Museums”
Josue Ibañez “New Interactions at Exhibitions and Museums”

Mexico Cocolab

David Braun Quantitative Easing