Originally birthed from playing with the concept of the Molecular Music Box by Dr Duncan Lockerby (University of Warwick), the piece slowly developed into a glitch piece with inspirations dravwn from Autechre.
The visual aesthetic was developed long before the music but only really started to take its form with the different musical elements. This piece was composed together with musicians Farid Sapuan and Gunahlan Subas.
Using angles as the focal point, the algorithms generate labyrinthine shapes and patterns based on frequency, tempo and amplitude in real-time.


AMON || 4E4

TL_07 pays tribute to one of computer art’s earliest creators, Frieder Nake. This simple algorithmic drawing can be traced back to the very beginning of computer art.

From the current point, draw a randomly chosen edge (direction and length) within an established boundary.

AMON || TL_07

TL_06 draws influences from ambient music with its focus on density and textures. The piece was conceptualised after I had a discussion with visual artist, Lillevan on how he used non-diegetic visuals in ambient pieces.
The idea of noise() in Processing is basically a sequence generator that produces a “harmonic succession of numbers” compared to that of random(). Ken Perlin who developed noise in the 1980s often created life-like organisms in his applications. This idea of life-like organisms was also developed in Processing by visual artist, Raven Kwok’s “Algorithmic Creatures” series. This inspired me to create my own “algorithmic creature”.
This piece illustrates the life cycle of my creature.

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Amon Wong