I'm quite into the idea of engineering being beautiful.
From Sean Booth
It's claustrophobic, and I think it is to do with the amount that we're exposing people to one particular point.
I'm well into sort of Santiago Calatrava and people like that.
It doesn't really exist; it's just basically lots of different stages between the two pieces, and you end up with, like, a third shape that doesn't exist but is suggested to you by the image.
Working in the digital domain, you're using approximations of things; the actual sound wave never enters the equation. You deal with sections of it, and you're able to do so much more by just reducing the information to a finite amount.
We're quite into graphics that are simultaneously two- and three-dimensional. But I can't really elaborate any further because it's not something - we haven't really perfected it.
It's incredible, but I think a lot of people it shot over their heads 'cause they're used to just getting images and messing around with them, and for us to do something quite so 'designed' was a bit of a shock.
We're more into sort of fluid structures that are simultaneously the most efficient, the most beautiful, and the most engineered. You know what I mean? We like the balance you can get in there.
It's kind of like trying to make straight lines from curves, but involving shapes that sort of dictate what the curves are, if you like, and the difference between two separate pieces creates a third transitional piece if you like.
We don't really talk about music that much, to be honest with you. It's not some I usually - I can't really talk about other people's tracks never mind my own.
3 perspectives
2 perspectives
1 perspectives