Alex Beausire: For those not familiar with your process, how would you describe how you go about your work as a generative artist?
Ezra Miller: I’d say the focus of my work is on making something that is able to be experienced in real-time with me controlling it. So I use things called shaders that run faster than normal in graphics programs so you can create really complicated visual effects, but in real-time, and then I use this in combination with other things like images and videos to create an experience.

The work for Objekt is a combination of different approaches, mostly making a bunch of content offline and then bringing it all back together in real-time with different effects we made that ties it together as a larger set.

AB: So how does the process for this work with Objekt differ to your normal process for work that’s not live AV?
EM: When I’ve done visuals in the past it was about building a system and then improvising live without necessarily any structure to it. The only visuals I’d done before this were with Yves Tumour and his set was this really intense noise but the performance was quite specific to the show. We used camera feeds so that was another live aspect of the set that was controlling what the output looked like

With TJ I wanted to switch it up because we wanted to have something that was really tightly synced visually so we use lots of TJs midi trigger to control certain effects. Also, the actual content was different in the sense that I was tasked with making more not necessarily abstract generative stuff, but more content that had figurative elements and narrative to it. I wrote out a large storyboard after listening to TJ’s recordings of the set and tried to think about how to make a visual that works for each song but also ties into a larger piece that flows with everything.

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