Exploring the idea of geomorphology, mathematics and understanding the world, Morphogenesis requires audience to be sentient, not just receivers. It invites the viewer to a poetic and sensational world, where space becomes infinity, the primal sense of the immaterial world is experienced and the process of creation is reevaluated.

Morphogenesis is part of the Ars Electronica Animation Festival, that screens a selection of the most outstanding animated works honored by the Prix Ars Electronica jury in recognition of their substantive and stylistic quality. This lineup impressively gets across how the genre itself has flourished of late and the extent to which it now pervades our everyday life.

“A composer cannot view the world in which he lives with indifference. Human suffering, oppression, injustice . . . all that comes to me in my thoughts. Where there is pain, where there is injustice, I want to have my say through my music.” – Isang Yun, 1983

The real-time visualization of this piece has its point of departure in visual associations with the sheet music, and rises up into a complex geometric structure, the individual elements of which are then infused with dynamic movement by parameters derived directly from the live sound of the piano—like a huge high-rise complex or construction plans for a futuristic urban machine that, with passages becoming softer and softer, descends into a dark nocturnal mood, from the depths of which tonal colorations and elements evocative of Asian calligraphy repeatedly emerge. Three of Philip Glass’s 20 Etudes for Piano will be performed as a sort of teaser for the big solo concert on Monday.