TD HEREINAFTER EXCERPT

HEREINAFTER
164

165

166

HEREINAFTER
Introduction
People throughout history have grappled with the nature of the future, and have explored questions such as: What does
the future hold for us? How can we prepare for the future? And how should we live our lives in light of the future? When
exactly is the “future”?
The concept of the future has fascinated philosophers and thinkers throughout history. It is a vast and infinite expanse of
time, filled with endless possibilities and potentialities, but also one of risk and vulnerability. It is a realm shaped by
countless forces, both internal and external, and is shrouded in uncertainty and unpredictability. The future is a blank
canvas upon which we can project our hopes, dreams, and aspirations, but it is also a space of imagination and creativity,
where we can envision new innovations and explore uncharted areas. We cannot know for certain what will happen, nor
can we control all of the factors that will shape the course of events, both known and unknown.
The term "hereinafter" is used to refer to a point in time or an event that will occur after the current moment. It is
important to be specific about the time or event being referred to so that there is no confusion or disagreement later on.
One prominent philosophical approach of "hereinafter" can be seen as a reflection is Stoicism, which emphasizes the
importance of living in the present moment and accepting whatever the future may bring. By cultivating inner peace and
tranquillity, we can face the future with equanimity, regardless of what it may bring. Another philosophical approach to the
future and “hereinafter” is existentialism, which emphasizes the importance of creating our own meaning and purpose in
life. Following this philosophy, we must embrace our own freedom and responsibility, and make choices that reflect our
deepest values and aspirations, even in the face of adversity and uncertainty.
"Hereinafter" reflects the tension between possibility and risk, allowing us to anticipate future events and contingencies
while also acknowledging the various possibilities of the future. By using "hereinafter" to refer to future dates or events,
we are acknowledging that the course of events is subject to change and that our plans may need to be adjusted as
circumstances evolve.
Image on page 169: Official HEREINAFTER main poster, designed by author.
Image on page 170: Official HEREINAFTER AV PERFORMANCE poster, designed by author.
167

HEREINAFTER is a showcase event that evokes the question of where are we (students and lecturers of Diploma in Creative
Multimedia, MMU) going from this point at the moment. The event exhibits not just students’ works, but the development of higher
institutions’ academic syllabus and pedagogy, inspiring initiation in art movements to fulfil industry demands. This event established
a milestone for the Faculty of Creative Multimedia (FCM), especially for the most celebrated programme/department in 2022 – the
Diploma in Creative Multimedia. Where we exhibit our niche subjects from the programme, it permeates our technological
advancement in making arts through formal education. HEREINAFTER showcase the students’ work from the subject DCM2133
Generative Audiovisual, trimester 2210 and 2215. Plus special features of local prominent audiovisual practitioners from the industry
such as Euseng Seto, Fairuz Sulaiman, and Supercodex. The Programme Coordinator from the Bachelor of Media Arts course – Anis
Haron performed an algorave performance, in which might be the first time ever algorave showcase in Malaysia. Not to forget, the
author of this book also perform a DJ set as Hanis Hani accompanied by his student – Jason Goo as the visualizer. And there is a
30-minutes special segment showcasing music tracks produced by the Diploma of Creative Audio students. This event will be a
feature in Manila Community Radio, Philippines.
FROM TOP, LEFT TO RIGHT: Raja Azizul, Muhammad Taufiq Jeyalani, Ahmed Iwaz, Jason Goo Kian Seng, Fairuz Sulaiman, Euseng Seto,
Adam Daniel Shuizam, As-sayyidah Nafisah Halis, Natasha Azalea, Sofea Aqilah Shikh Muhammad Akbar, Amira Izzaty Amir Rohaizat,
Nur Aina Syazwina Md Azman, Nur Afrina Kamarulaznan, Farizah Masturah Ahmad Jamal, Tania Nazirah Mohd Shukor, Adriana Syafiqa Marzuki,
Syed Muhammad Syed Shahar, Putera Mizane Mohdkhairul, Hanis Takashi Aiman, Ng Yi Kee
168

HEREINAFTER
Generative Audiovisual Showcase
Front LED screen in front of
the e-Gallery, FCM.
The event was divided into two segments – an audiovisual live performance at an amphitheatre hall (MMU Cinema) and a projection
mapping exhibition at a gallery (e-Gallery, FCM). The audiovisual live performance only occurred on one particular day – on Tuesday,
4th of April 2023, while the projection mapping exhibition occurred from 5th to 7th of April 2023. But due to popular demand and
welcoming response, the projection mapping exhibition was extended for another week, until the 14th of April 2023. Even though the
highlight seems to be on the live audiovisual performance, the first day of the projection mapping exhibition was treated no less
remarkably. It was a celebrative moment for the students from DCM2133 Generative Audiovisual subject of the 2210 and 2215
trimester, where they showcased their final product of that subject from their recent trimester. Albeit this book focuses on
TouchDesigner, visual programming, and generative art, we will begin with featuring a short run-through from the projection mapping
exhibition, which featured some generative art and visual programming content to go along with this book.

List of artwork titles and students:
BIRTH OF A UNIVERSE BY
MUHAMMAD TAUFIQ JEYALANI
MUHAMMAD FAIZ DANIAL ABD. AZIZ
MUHAMMAD SHAMIR ZIKRI MOHD RADZI
NIRVAN SUBRAMANIAM
EARTH BY
GOO KIAN SENG
YAP WEI VING
TAN JUN YI
LAI JIN HONG
JEFFREY YEE
ENTERTAINMENT THROUGH TIME BY
ASFA WARDINA ASRI
ALLISYA ABD GHAFUR
SITI NUR ATIKAH ZAINUDDIN
THALHAH HAZLY AMIR
SHURIM MOHD PERHARD
ESCAPE BY
KOH SHER LYN
HANIS FATIN ZULKIPLY
FARIZAH MASTURAH AHMAD JAMAL
SITI SERISYA HANIM ABDUL AZIZ
NUR ALYA MOHD AZHA
GROWTH BY
ZAC LING WEI HAO
RIORDAN LEE HONG YI
LI BINGGENG
TAM JIA HAO
TAY CHIA XIN
CAT BY
LOW TZE SEEN
CHOY WAN TENG
CHAN YIN WEI
LIFE OUT OF BALANCE BY
AHMAD KAMAL AZIZ AZUAN
ASHRAFF MOHD FITRI
MUHAMMAD SYAFI ADLI SHAHRUDDIN
ENGKU FARIS HAZIQ ENGKU MOHAMMAD FADZLI
MUHAMMAD FARIS DANIAL MOHD SHAIDI
THE EDGE BY
ADRIANA SYAFIQA MARZUKI
NUR FATIMAH ISHRAQI
ADEELA KHAIRUNNISAA ASIMAN
NURDIANA NAJWA AMIRUDDIN
FAREESYA NAJWA AZHAR
WEBNET BY
AZRAEIN AZRAI NOR KHIZAM
NICOLE CHUAN KE LI
MUHAMMAD ADAM MUHAMAD RAZIF
MUHAMMAD HAZIM IDHAM HAMDAN
NURHAN HAZIQ NAZAR
SUCH IS LIFE
MUHAMMAD ZAHIN ABDUL RAZAK
AHMAD AQEEL RUSYDI MUHAMMAD RUSYDI
MUHAMMAD HAKIMI HASNOL MIZAM
ILHAN ZAFRY TARMEZDI
ZAR IZZ BIN AHMAD NADZARUDIN
170

This project’s objective and learning topic was to determine visual arrangement in
real-time digital multimedia audiovisual performance, organise the
understanding of generative audiovisual live showcase performance and
phenomenon, and calibrate non-linear account for audiovisual synchronisation to
simulate spatial experience combined with projection mapping techniques. In
summary, the project involves three important projects – creating VJ
loops/motion graphic videos, doing projection mapping, and doing an audiovisual
performance. This project’s span of this project occurred in one trimester of 14
weeks, but specifically, the timeline taken to produce the final project was nine
weeks. The project was expressive, and students had complete creativity freedom.
Like any other project, the study starts with learning basic technicalities, theories
and research. In the first stage, students are first to prepare and design for an
upcoming “showcase”. Students are required to make a visual board and a visual
sample. Like making a moodboard, they must illustrate their visual direction on a
canvas presentation. In contrast, they must include the genre, design, motion
graphics (mograph) impression, artist statement, creative visualisation, and
overall thematic. Not to forget to apply the visual composition understanding into
it such as visual hierarchy, grid & alignment system, design elements, usage of
colours, motion graphic principles, direction & context, etc. This shows that a
performer can take full control of the visual directions and storytelling.
In the second stage, students are required to prepare a proposal/blueprint to
visualise the floor plan designs, stage design, design mographs content, technical
statement, artist statement and a few visual samples. This shows that a
performer can take complete control of the directions on their music, visuals,
stage design, directions, creativity, props making, and storytelling. The showcase
must include a purpose, direction, theme, mood, music genre, visual genre, floor
planning and scaling, projection mapping, and clear possibilities that the final
output will be achievable.
171

In the last stage, students are required to do an audiovisual showcase to exhibit their works/performances/ presentations
professionally as an artist. The key elements of audiovisual showmanship are chemistry and synchronisation. Continuing from the
previous blueprint proposal, students must show their understanding of this subject's whole lessons and the practice of real-time
performance; an audiovisual show. The outcome will make the students fully equipped with industry knowledge and skills –
covering the audiovisual performance field, organising/managing an event, proposing, professional documentation,
performanceship, and idea planning.
After the final project was presented, we celebrated the semester/subject with the HEREINAFTER event featuring eight works
from selected 8 groups of students for the projection mapping exhibition at the e-Gallery. The group was formed for the final project
in the middle of the trimester 2210 and 2215 for the subject DCM2133 Generative Audiovisual. At that moment, due to popular
demand, we were requested to extend the exhibition. We added three more works from 3 groups afterwards. Coincidentally, most
of the works feature nature and environmental themes. Credits to Jason Goo Kian Seng as well for co-managing this exhibition.
Performance floor plan setup given as a guidance for the students.

(2210) DCM2133 GENERATIVE AUDIOVISUAL
NAME:
ID:
LECTURER:
BRIEF:
Low Poly is an interesting and somewhat complex aesthetic with a
multi-faceted, if short history that continues to this day. The key
tenants of the low poly aesthetic are the geometric subdivision of the
scene into triangles and the use of flat shading. It is very similar if not
the spiritual successor to earlier formalistic styles of art in that the
focus is on the form, lighting and texture.
The origins of the low poly aesthetic were surprisingly, not artistic in
nature, but instead stemmed from technological limitations. Early 3D
videogame videogame technology could not support the rendering of a
large number of polygons for models and were limited to a low poly,
almost blocky models. However, as technology improved, this
limitation was removed and around 2013, it became and aesthetic
choice for game designers to maintain low poly graphics. By utilizing
the low poly aesthetic these games exhibit very surreal, clean feeling
scenes that are visually stunning in their simplicity.
What is most interesting for me about the low poly aesthetic, is its
evolution into the 2D setting and the subtle differences that came of it.
For the 3D setting, such as in videogames, the flat shading is a product
of the model’s geometry and a simulated light source. If the models
were to be manufactured, they would be visually the same as in the
game. When applied to the 2D setting, the low poly aesthetic looses
that limitation. The artist can instead alter the hue of each triangle
individually and alter more dramatically the size and shape of each
facet without worry of the image looking bad from another angle.
(2210) DCM2133 GENERATIVE AUDIOVISUAL
Original footages
Stylizations
VISUAL BOARD
MAIN VISUAL THEMATICS
your chosen genre
GENRE: 3D POLYGONS
VISUAL BOARD
GENRE: 3D POLYGONS
(2210) DCM2133 GENERATIVE AUDIOVISUAL
This is a reference from Mark Pritchard works called Under The Sun featuring
Jonathan Zawada as the visualizer. “Cinematic” visuals are meant to deliver
the feels and emotions synchronized along with the music for maximum
appreciation. The visuals is not meant to follow the beats but is meant for
expression and experience.
References:
www.creativereview.co.uk/jonathan-zawadas-surreal-cg-artwork-for-mark-pritchard-album-under-the-sun
www.factmag.com/2016/05/20/mark-pritchard-jonathan-zawada-under-the-sun-interview/
www.vimeo.com/158668856
www.vimeo.com/181059502
VISUAL BOARD
GENRE: 3D POLYGONS
SAMPLE
SAMPLE SAMPLE
Visual Board sample and template given to the students, made by author.
173

Button 1
trigger this one
set of covers
Simple and playful interactivity with MIDI.
Button 2
trigger this one
set of covers
Bonus interactivity,
people can apply
effects with these
knobs like glitches
and shift RGB /
anaglyphic effects.
Button 3
trigger this one
set of covers
on so on until
Button 8
AKAI LPD8
Equipment:
1. Projector of at least 2.5k lumens, mounted on the ceiling
2. HDMI cable
3. Laptop
4. AKAI LPD8
Materials for boxes sculpture:
If acquire higher budget use wood for stronger structure:
1. Plywood for box surface, and wood for the pillars
2. Nailed and stapled together
3. Paint in white
Book rack/
podium. To be
covered by black
cloth
laptop
charger
MIDI placed on top.
Secured by lock &
gallery sitter.
Projector put &
hidden inside.
Laptop put &
hidden inside.
laptop
extension plugs /
powersource
projector
LEFT-SIDE VIEW
RIGHT-SIDE VIEW
PROJECTION MAPPING
TOP VIEW
FRONT-TOP VIEW
minimum 2 photos, maximum 3 photos
put 1 photo without projection mapping visuals
1 more photo with projection mapping visuals
Something that relates to how, why, what are you doing in logical and
real difinitions. Not metaphorically.
“The JUICE Pandora”
Indulge yourself with our own immersive version of Pandora box. Enjoy
a full-on visual experience featuring projection mapping, interactivity,
immersive visuals and euphoria.
Explain your expression of your artwork - the message, the storytelling,
generally the metaphor and meaning behind it.
SAMPLE
Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam
nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam
erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation
ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo
consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate
velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis
at vero eros et accumsan et iusto odio dignissim qui blandit praesent
luptatum zzril delenit augue duis dolore te feugait nulla facilisi.
SAMPLE
SAMPLE
3D PROJECTION MAPPING IN ADOBE AFTER EFFECTS
AUTHOR : Ryan Rakowski
www.youtube.com/watch?v=nWnGw_pDSIY&t=32s
“This is my first reference that gave me the idea of choosing 3 boxes and relating
them with human beings.”
The visuals keep changing like mood swings. In the first and third picture its
representing spirituality and passion. The second picture has 2 different colours on
each box, which means it has anger and joy with parts of his/her life.
PROJECTION MAPPING BOXES
AUTHOR : Don Stevens
www.youtube.com/watch?v=loB62JullLM&t=1s
“These pictures are projecting fully red towards the human life from all aspects.”
Red means anger, the human is upset with everything.
QUARTZ COMPOSER TEST
SAMPLE
AUTHOR : Lasonf
https://youtu.be/P1az8bbuOLg
“Projecting onto several Cubes mad out of Cardboard or Wood. Using two 3000 ANSI
Projectors connected to a MacPro with a Matrox DualHead2Go. Mapping and
Live-Visuals realized with Quartz exclusively.”
The movement of lines on each side of the box and each surface of the box has a
different visual.
SAMPLE
SAMPLE
CAN ADD MORE PHOTOS BUT USE ANOTHER PAGE.
ONE PAGE ONLY INCLUDE 6 PHOTOS.
CAN INCLUDE BEHIND THE SCENE PHOTOS OF SETTING
UP PERFORMANCE AND SOUNDCHECK AS WELL.
1. Laptop
2. Acer H6517ST FullHD Shortthrow Projector
3. FullHD Widescreen visual 16:9
4. HDMI cable
5. MIDI Akai LPD8 for simple interaction
6. Resolume 4 and above
7. Must use “Advance Display” NOT “Display 2”
8. Make sure all visuals have converted to .mov format.
9. Codec must be DXV3 for maximum smoothness.
SAMPLE
ABOUT THE PERFORMANCE
EXPLAIN YOU THEMATICS - THE KIND OF VISUALS THAT YOU’RE
EXPERIMENTING OR DEVELOPING, ABOUT THE GENRE, THE MOOD,
AND HOW IT COULD ACCOMODATE TO THE KIND OF MUSIC THAT YOU
WILL PRESENT; THE OVERALL VIBES. Lorem ipsum dolor sit amet,
consectetuer adipiscing elit, sed diam nonummy nibh euismod
tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim
ad minim veniam, quis nostrud exerci tation ullamcorper suscipit
lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum
iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel
illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto
odio dignissim qui blandit praesent luptatum zzril delenit augue duis
dolore te feugait nulla facilisi.
ABOUT THE PROJECTION MAPPING
EXPLAING ABOUT THE SCULPTURE YOU BUILD, THE KIND OF VISUALS
YOU PROJECTED INTO, CAN COPY SOME FACTS FROM THE DIRECTION
AND CONCEPT AND ARTIST STATEMENT IN THE FIRST PAGE. De magna
aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud
exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea
commodo consequat. Lorem ipsum dolor sit amet, consectetuer
adipiscing elit, sed diam nonummy nibh euismlla facilisis at vero eros
et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril
delenit augue duis dolore te feugait nulla facilisi.nonummy nibh
euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut
wisi enim ad minim veniam, quis nostrud.
CREDIT PAGE
Thank you note
Write anything you want as long as it is appropriate and professional
You may include the duration of the whole project and the date of the performance/showcase
Write your group name (maybe you can develop your group logo),
and name of each groupmates
You may include each groupmates role/position as well
You may include photos of each groupmates as well.
If you decided to put photos of each groupmates, please show your face. Not photo
from your back, anime pic, cat pic, your company logo etc. SHOW YOUR FACE, BE PROFESSIONAL.
You may include your contacts such as personal email (not mmu email),
phone number, portfolio link, anything relevant.
Say thank you again or some cool quotes.
HIGHLIGHT PHOTO OF THE
PERFORMANCE
Just one photo
SAMPLE
SAMPLE
Remember. This blueprint may be presented to potential clients and outside exhibitions/events
if you did great. All the best.
projectotion screen / surface
Blueprint / Proposal sample and template given to the students, made by author.
174

HEREINAFTER
The Works
Birth of a Univee
Muhammad Taufiq Jeyalani, Muhammad Faiz Danial Abd. Aziz,
Muhammad Shamir Zikri Mohd Radzi , Nirvan Subramaniam
Artist Statement:
“Through this sculpture, we aim to showcase the beauty of our planet by presenting its creation of it, from its humble
beginnings as nothing but particles of dust in a barren planet through the rocky stages of its development, and
finally into the planet we all live on currently. We wish to make people appreciate this planet more this way.”
Author’s remarks:
Claimed to have the highest likes during the exhibition, albeit simple work and using a lot of planets footages, the
result displayed fine craftmanship in making the semi-sphere sculpture using the right materials and tools.
Beautifully enhanced with suitable mographs and live footages to indulge the audience with a simple rounded
shaped projection mapping artwork.
175

T
Low Tze Seen, Choy Wan Teng, Chan Yin Wei
Artist Statement:
“We use a cat face appearance as the primary aesthetic, where we decided to project dreamy, fantasy, and cute
visuals to present a romantic, playful and relaxing effect. Cats are the most docile animals in the cat family,
representing gentleness and being very lovable. These features of a cat are also conveyed in the form of visuals in
our projection mapping and performance.”
Author’s remarks:
Who doesn’t love cats? This work features a lot of animal and adorable creatures animation, which fascinates the
audience’s mythical fantasies. Some of the animations show betta fishes, cute dragons, and some cats, obviously.
The craftsmanship in making the cat sculpture was also very creative as they only used polystyrene board and cut
it into polygonal shapes - forming a cat face. The face becomes a trace for them to implement the outline
mographs, and the background is to enhance the storytelling with nature’s experience and suitable motions.
176

Earth
Goo Kian Seng, Yap Wei Ving, Tan Jun Yi, Lai Jin Hong, Jeffrey Yee
Artist Statement:
“The sculpture is inspired by the concept or meaning of the "tree of life." The concept aims to raise awareness about Mother Earth and
life on Earth. The creation of Earth will serve as the introduction, followed by a timeline of how land and water existed before the arrival
of life on Earth. Meanwhile, visuals will be projected onto multiple surfaces of the tree-shaped sculpture, creating a
documentary-style performance in the form of a tree. The arrangement aims to highlight all life forms on Earth, including humans,
flora, and fauna. The ultimate goal is to increase awareness of our finite planet. In addition, in order to provide viewers with a
memorable experience, our goal is to change how we approach and view life.”
Author’s remarks:
Probably the most hardworking, diligent team. At first, the team proposed five blueprints. Then the chosen blueprint took a lot of work,
considering the sculpture was too complex. Then using the same bought materials, they improvise it. Afterwards, they discovered that
the sculpture wasn’t interesting enough and improvised it again, and finally settled with the final outcome. The structure was definitely
complicated and fragile as it needed a strong base, and something to hold the top of it so it won’t tilt. The effort in the projection
mapping was also massive because I’ve seen they’ve made more than 20 slices in the program Resolume. The videos mostly featured
nature footages, but that doesn’t discount the effort they spent to create the outline mographs and their own captivating content.
177

Entertainment Through Time
Asfa Wardina Asri, Allisya Abd Ghafur, Siti Nur Atikah Zainuddin,
Thalhah Hazly Amir, Shurim Mohd Perhard
Artist Statement:
“We want to show our viewers the evolution of human entertainment from the 70s to the current 2000s. We’ve included visuals
from popular cartoons, shows, games and music our parents grew up with and shows our generation grew up with. The different
head angles represent the different views on life, and the different heights represent the various stages of life. From this, we
can see that despite a pop culture gap, we can still relate, learn from each other, and discover that we might not be so different.
It’s all a matter of perspectives.”
Author’s remarks:
Another interesting sculpture with appealing mographs which features a lot of trendy pop culture aesthetics. This work/team
really knows how to commercialise their artwork. The way they invested (financially and time) in their sculpture was also smart.
Simplicity sure works if you know your way around it. The overlapping effects of halftone patterns on top of each mographs
were amazing as well, giving even contemporary and random mograph/footage becoming comic-style aesthetics in motion.
178

Escape
Koh Sher Lyn, Hanis Fatin Zulkiply, Farizah Masturah Ahmad Jamal,
Siti Serisya Hanim Abdul Aziz, Nur Alya Mohd Azha
Artist Statement:
“We want to let our audience experience lucid dreams and escape reality. Nowadays, many people live in a big city
and don’t have the chance to experience the natural environment. This is like a fantasy, an imagination of a city
person who imagines they are surrounded by nature even though they live in the city. The city is more like
representing a prison or a cage; the glow windows will express the desire to experience.”
Author’s remarks:
This group feature a lot of generative visuals made with TouchDesigner. The generative visuals overlap on top of
cityscape footages, which is pretty mesmerising. During the presentation of this work, they hid some LED lights
inside the boxes, which represent city lights. The idea behind this work was solid, and it gives some sense of being
in busy city streets, combined with footages from our encapsulating yet vibrant capital - Kuala Lumpur.
179

Growth
Zac Ling Wei Hao, Riordan Lee Hong Yi, Li Binggeng, Tam Jia Hao, Tay Chia Xin
Artist Statement:
“The sculpture that we chose is a cactus. We made this decision because we can learn much from the cactus way
of life. The tenacity of a cactus, which we should take as a lesson for life, inspired this idea. For example, cacti can
collect water to survive and maintain a state of water while not dying; we learn that perseverance is the key to
victory. Our performance will inspire the audience to have robust and unwavering willpower.”
Author’s remarks:
Simple sculpture, but yet great projection mapping and content. The traditional-like sculpture of boxes reminding
us the early days of simple projection mapping works. And with slices of visuals on each surface of the boxes, it
shows different time-lapse footages of plants’ growth. There is a time-lapse clock indication in which shows how
many hours the plants took to grow, giving us a real predictions on how plants actually took time to grow.
180

Life Out Of Balance
Ahmad Kamal Aziz Azuan, Ashraff Mohd Fitri, Muhammad Syafi Adli Shahruddin,
Engku Faris Haziq Engku Mohammad Fadzli, Muhammad Faris Danial Mohd Shaidi
Artist Statement:
“Our project is made to show the change that everyone can see. We wanted to show people the contrast between nature and
the industrial world that humans have created. It is entirely subjective and can be looked at in many different ways, whether you
think the industrial revolution was correct or not. Our group will juxtapose footage of plants/animals with cars and buildings.
The stacked boxes are supposed to replicate a city’s skyline (which consists of buildings and skyscrapers), as our concept is
about nature and what humans make of it. For the project, we will splice clips of buildings and nature with more abstract art
like gradient waves and psychedelic geometry.”
Author’s remarks:
This work features a point-of-view from driving around the beachside, à la Japanese citypop culture. Combined with minimal
outline mographs to show the simple structure of an arc. Since the content and sculpture were too straightforward, they
enhanced it with audience interaction by putting a KORG NanoKey 2 MIDI controller so audiences could freely trigger effects
and change visuals on each button. A bonus to make the event more lively and interactive.
181

The Edge
Adriana Syafiqa Marzuki, Nur Fatimah Ishraqi, Adeela Khairunnisaa Asiman,
Nurdiana Najwa Amiruddin, Fareesya Najwa Azhar
Artist Statement:
“Sometimes you would want to stand and think without a thought, just staring quietly at a random wall or object around you. That’s
what The Edge is, a form of cubes that creates an imaginary edge for the audience to stand and think. The audience gets to enjoy the
lifetime experience of how the visual world works, just let the eyes and mind sink into the visuals happening in front of their eyes and
wonder when it will end, which leaves them on the edge.”
Author’s remarks:
What’s best about this work was how brilliantly the team to project map onto the background shadow spaces. It may not be a new
thing, but it’s fascinating to see innovative ideas from these young creative students aged 19-20. Not to mention the effort of making
the slices of the projection mapping and the carefully crafted sculpture. The projection mapping is the second most difficult next to
the Earth’s work. It’s also intriguing how they carefully map fine outline mographs onto the box frames. The visuals play around with
a lot of mirroring and kaleidoscope effects which put you in a trance based on the artist’s statement works as well.
182

Webnet
Azraein Azrai Nor Khizam, Nicole Chuan Ke Li, Muhammad Adam Muhamad Razif,
Muhammad Hazim Idham Hamdan, Nurhan Haziq Nazar
Artist Statement:
“It is common for the younger generation in our society to be easily influenced by things like the internet and social media without
even realising they are being affected. When an individual is submerged and lost in the massive amount of data, they lose their
sense of identity and feel extreme loneliness as they cannot relate to people from both the internet and real life. It’s not long until
they will feel stressed and develop mental illnesses. They lose the confidence to express themselves online and will feel
intimidated and trapped by their online persona.”
Author’s remarks:
This team and works probably have the best mographs and content. The highlight was how the animations interact with the body
sculpture, such as hands moving onto the body, eyes looking at the body, motion graphics moving around the body, skeletons motion
graphics, body’s anatomy motion graphics, and many more, putting the body sculpture the attention. The audience can put on a
headphone provided as the motion also moves based on the music. Props to Azraein Azrai and Nicole Chuan Ke Li for making most
of the amazing video and mographs content.
183

Such is Life
Muhammad Zahin Abdul Razak, Ahmad Aqeel Rusydi Muhammad Rusydi,
Muhammad Hakimi Hasnol Mizam, Ilhan Zafry Tarmezdi, Zar Izz Ahmad Nadzarudin
Artist Statement:
“Angling the project to an isometric view will help give depth to the hexagonal prisms and give us more space to place our visuals on,
such as being able to visualise upward and downward motion with the elevation. The difference in elevation helps break the
monotonous shape and pattern. A symbol of life and nature. Showing the darkness and the intensity of survival that exists among all
living things, whether it’s plants or humans. We all strive to come on top, where it is black and white, or life and death.”
Author’s remarks:
Being different from others, this work features black and white mographs content. The polygonal hexagon on the ground also makes
it challenging to project map, which requires the projector to be put at a high place. On a personal opinion, this sculpture would be
more interesting if the audience could sit on it while having the visuals on top, making it an interesting public seat/artwork/sculpture
to be put in a shopping mall as a marketing tactic. It might also be put on a playground so children can play on top of it. This kind of
work is what evokes relevant arguments and discussions for our future.
184

HEREINAFTER
Audiovisual Performance
The audiovisual performance showcase was planned since trimesters 2210 and 2215.
According to the syllabus, this course introduces students to real-time audiovisual
composition and showcases time-based media. It will explore various experimental
sound and visual compositing techniques and synchronisation for interactive medium
and live digital multimedia audiovisual performance/ presentation. The classes provide
students practical knowledge and experience in a real-time audiovisual
showcase/performance/presentation environment. Starting from week 5, a group of
students will perform in front of the class, playing any visuals and music to express
themselves and improve their skills. This subject covers the fundamentals and integration
of digital multimedia audiovisual production, fundamentals, history, and relevant topics.
To celebrate their success, we threw an event for the selected students who want to
perform to express their skills and music, have fun with moving visuals and real-time
effects, give them stage presence, have a meaningful knowledge-sharing platform, and
provide them with the feeling of performing in front of proper audience. Not to mention
we provided them with a suitable venue – an amphitheatre hall (MMU Cinema), wall
entirely covered with professional acoustic, carpet flooring, quality cushion seats, and
most importantly – cinema-grade high lumens projector with a large screen and Harman
Kardon surround soundsystem complete with a pair of 18-inch subwoofer. Students that
performed were Aphrena, Pari, Jason Goo, Mizanite, Tania, Addy, and Nana. We even
featured some invited artists, making the experience and knowledge more valuable. The
invited artists were Anis Haron, who introduced an algorave performance, Supercodex,
Euseng Seto, Fairuz Sulaiman, and myself as Hanis Hani. All photos for HEREINAFTER AV
Performance are taken by Muhammad Taufiq Jeyalani and Natasha Azalea Norazlin. You
guys are brilliant. Big ups!
185

The event occurred on Tuesday, 4th April 2023, from 11:00 a.m. to 6:00 p.m. As we arrived at the venue, boxes full of equipment, cables,
extension plugs, and bags filled with gears and laptops; each student came prepared. Some students sat and took the morning setup time
to finalise their settings and visuals on their laptops. While I liaise with the excellent technician – Mr Raja Azizul, known as Ojo – to prepare
the projector, screen, soundsystem, and stage. Massive thanks to Ojo because without him, this event couldn’t even been made. While we
were setting up the stage, the lovely folks from the MMU Studio came over to brief and assist in recording the show for the whole day.
We first need to figure out how to use the Harman Kardon surround soundsystem in the amphitheatre hall to connect to performers’ gears
and laptops. At the same time, we also need to audio record the whole session with another laptop. Meanwhile, we have to connect the HDMI
cable to another computer for the visuals since both audio and visuals came out from different laptops. So figuring these out was quite a
brainstorm and took hours since we didn’t get to use the venue a day before due to classes being held there the previous day. With help from
Ojo, he was very professional, calm, and supportive in solving these things together. In times like this, I’ve brought almost all of the audio
gears and types of cables I have, and thankfully, we’ve managed to figure out everything by 11:30 a.m. The Harman Kardon amp system was
quite challenging to figure out the output and input since it goes through so many channels, racks, and speakers, not to mention the 18-inch
pair of subwoofers placed at the stage about 15 meters away from the console room. Moreover, the digital setup seems a bit different than
usual. But we worked it out. As for the audio and visuals coming out from two different laptops, fortunately, I have this video mixer/switcher,
which can connect up to four laptops to mix audio and displays together, overlapping effortlessly through HDMI cables; we used that, and
everything worked out flawlessly. Then we immediately ran the show without any soundcheck because we needed to be on time.
186

Warming up the floor, was none other than the organiser – Hanis Hani. Playing in the early morning at 11:30 a.m., Hanis Hani intended
to give the highlight times for the other performers. As mentioned by Hanis Hani himself - he’s just playing some “soundcheck”
music but turns out to be playing carefully curated “wave” music. A genre with no particular beats-per-minute (BPM), no country of
origin, and no specific drum patterns. It derives in between the moody melodies, minor key synths, cyberpunk aesthetic influence,
and definitely a particular established sound of sustained heavy basslines. Some “wave” labels even recognized and settled with a
specific sound from a synth. Pioneering labels such as Liquid Ritual, Plasma Abuse, Wavemob, ESC_,Terrorhythm, etc, have been
Jason Goo (left) making the visuals as Hanis Hani (right) rinsing tunes.
playing important roles in developing the awareness and its community globally. Hanis Hani is really testing out the MMU Cinema
soundsystem at maximum, blasting and EQing sounds that suit best for the Harman Kardon surround sound top speakers and two
of the 18-inch subwoofers. Having that, he played some rowdy UK grimes and UK raps as well, such as tunes from Rapture 4D, AJ
Tracey, Skelecta, and more. Not to mention he played some finest tunes from the “wave” dons such as Kareful, Sorsari, Pholo,
etcetera. Hanis Hani, displaying true showmanship flaunting his signature silk scarf, Sonar Barcelona 2019 festival windbreaker and
t-shirt, his minimal Novation LaunchControl XL setup, educating and introducing to the students with the finest innovative low-end
music. Warming up and slowly heating up the energy for the following performers, which are also his students, and of course - the
audience. After all the seriousness in surviving their study journey, the students need some vibrations rattling pleasure.

188

Goo Kian Seng, a.k.a. Jason Goo, while co-managing the exhibition next door and also the opening VJ for Hanis Hani, intends to do
motion tracking effect visuals with TouchDesigner, resulting in making our body motions dispersing particles, mirroring effects, and
edge feedback effects in the visuals. Along with that, he overlapped the base visuals (some free VJ loops from Midge "Mantissa"
Sinnaeve) with some TouchDesigner generative cyberpunk point cloud, futuristic and neon mographs. Jason Goo is known for being
an excellent student in the faculty; thus, his performance was not disappointing at all. He was calm and had very much fun. Before
the performance, he rehearsed the visual composition and “vibe” to fit the music Hanis Hani would play. The visuals were more into
cinematic style and effects experimentation rather than the usual trigger-play according to the beats. He controls the visuals using
Resolume Arena, linked with TouchDesigner through Spout. The whole performance from this duo brought so much energy and
contemporary feelings of cyberpunk and futuristic aesthetics. They made it relatable to the Gen Z students’ understanding and
fascination. But overall, it’s just two boys having fun together after the hard days of the previous semester.
Hanis Hani and Jason Goo’s performance finished at 12:30 p.m. Then it was the beats showcase from the students of Diploma in
Creative Audio with footages of behind-the-scenes from the students’ work for the subject Generative Audiovisual and some
behind-the-scenes of the lecturers’ demos in the classes.
189

Addy (left) and Tania (right) playing live visuals for the pre-made mix of music made by them.
Tania and Addy were next on stage. Taking the floor at 1:00 p.m. They gained the most audience during their performance since it
was lunchtime, and students took a break from their classes. Tania and Addy’s performance was enchanting and heavenly. These
lovely ladies beautifully mixed some ambient, psychedelic, lo-fi beats, shoegaze, soul, indie and some jazz music within their
30-minute performance. It was alluring, hypnotic, and charming. The atmosphere was lifted with a lot of serenity. Such tunes
played were Bathe, DPR IAN, Abstract Aprils, Tobi Lou, Kaho Matsui, and definitely a lot of Tame Impala and remixes. It’s nostalgic
how these youngsters were having so much pleasure playing a lot of teenage-induced tranquil indie vibes, just like how it was
during the early 2000s. It’s incredible to find out that some of these rare gems can compose such good taste in music for a mix.
190

191

As for the visuals, as expected – a lot of pacifying visuals,
colourful particles, slow-motion psychedelic water flows,
some geometrical lines and shapes on top, and 3D-like
water. It’s the fruit of the class in studying visual genres
and producing countless visual loops. Matching the
spacious sounds/music they’ve played, their visuals are
more cinematic style and not the typical trigger-play type
of performance. To make their visual performance more
interesting rather than just putting it on screen for us to
ponder, they slowly applied many soothing effects and
overlapping geometrical lines and shapes according to
the developing moods. Sometimes they used some VHS
tape and mirroring or kaleidoscope effects as well. The
experience was lucid on the audience’s mind since they
hypnotised them into a complete journey of serene vibes.
192

As-Saiyidah Nafisah, a.k.a. Nana as a singer.
Around 1:30 p.m., after Tania and Addy’s performance, As-Saiyidah Nafisah, a.k.a. Nana, delivered the only singing performance
amongst others. She was accompanied by Mizanite for the visuals. For her set, Nana performed/covered three songs - “Terbang
Tunduk” by Fynn Jamal, “Ikhlas Tapi Jauh” by Aliff Aziz version, and an unplugged version of “I Could Be The One” by Johanna
Söderberg for Avicii Tribute. It was melancholic, smooth and, at the same time, groovy hearing these catchy ballad pop songs were
sing in front of us. Nana’s voice was genuinely fitting for pop music and, of course, lovely. Although Nana claimed it was freezing
that day in the venue since she’s sensitive to cold, she managed to handle it and performed professionally. Her courage is what
inspires the audience, which mostly consists of students from the building.
193

Not forgetting the visuals, Mizanite performed smoothly and accommodating to Nana’s vibe. As for
the “Ikhlas Tapi Jauh” and “Terbang Tunduk” songs, Mizanite uses the original music video from the
original artists. Not just that, he mixed with a lot of mographs and effects on top of the original videos.
Fitting to the pop ballad songs such as the animation of sakura falling, colour and hues adjustment,
triggering different live footages, and some floral footage. It’s fun to see the original being live
remixed while, most importantly, we can see the lyrics at the bottom part. We can see Mizanite, and
the audience seem to sing along to some of the songs. Vocal performances/performers could benefit
a lot from visuals as part of the performance.
Mizanite VJing for Nana.
194

Aphrena (left) and Pari (right) playing live visuals for the pre-made mix of music made by them.
It’s 2:00 p.m., and now came the dynamic duo. After all that relaxing and chill vibes, Aphrena and Pari took
the stage, bringing the energy and heat that teenage Gen Z spirit filled with a lot of contemporary Korean
pop music. Inducing the girls fangirling over Korean pop culture and pretty boys, they sure managed to
fascinate the female students in the room. Playing almost all Korean music – DPR Ian, DPR Live, Seori,
(APRO), and more. But mostly DPR. You can imagine how the vibe was. Seeing these students finally
have a platform to express themselves and share their music in a big soundsystem was really fun. Good
music is good music to dance to and nothing else – just vibe.
195

196

197
As for the visuals, they coordinated together, playing a lot of aurora, soft, flowing, watercolour/oil paint kind of
mographs. With overexposed, colourful, and grainy texture aesthetics. This energetic duo can be seen having so
much fun playing the trigger-play type of performance. We also can see some of the visuals applied dispersed
effects and sometimes slowly changing colours. On each beat and each piece of music, they trigger different
types of effects and visuals. Using two laptops connected using a video mixer/switcher device, they can overlap
other visuals from different laptops. And they managed to pull off an amazing performance with a simple,
low-cost MIDI controller - Worlde Panda Mini 2 costing around only RM160. I assure you they are ready to
perform outside, professionally and passionately.

At around 2:45 p.m., we now welcome our first honoured guest performer, which is also the
Programme Coordinator/Lecturer for the Bachelor of Media Arts programme - Anis Haron. Which
we look forward to so much. Because Anis Haron exposed us to something new called the algorave.
Now we’ve known algorave have been around for some years, but it’s not a thing in Malaysia. There
is probably an algorave event out there locally, but not known to significant citizens. Algorave is an
audiovisual music performance whereby the music or the sounds are made entirely from textual
coding, live on the spot. With that, the codes are shown on the screen as well. Anis Haron spent
around six years in the United States, around New York and California, sharing with us what he has
learned throughout his journey as a new media artist and sound discoveries – a true gem and
powerhouse in the faculty.
Anis Haron came on stage with just a laptop and some notes, introducing algorave.
198

199

Now Anis Haron’s setup was not sophisticated at all. All he needs is a simple laptop, wifi, and he brought a printed
code as notes which he called the “cheat codes”. Probably some references and notes in case he forgot things.
Downing to earth, we also felt slightly intimidated seeing this guy doesn’t need to bring any expensive gear and stuff.
All he asked for was a chair and a table. He is a don. He’s using this website/platform called Gibber, where he can
code freely using JavaScript programming language. Not just sounds, in the middle of the performance, he also
codes some simple generative visuals of geometrical shapes reacting to the beats. Just to make things fancy. The
live sounds he made are probably something at 110 BPM, consisting of the usual instruments’ sounds used to make
electronic music, such as drums from a sequencer, a lot of synths, and basslines, of course. Being so lowkey without
any social media, Anis Haron became attention of those who have experienced his performance. Cheers bruv!
P.S. For those interested, you may check a complete introduction and basic tutorial for algorave on YouTube - Charlie Roberts: Gibbering at Algoraves.
200

201
Here comes another dynamic duo, the Supercodex, getting on stage at 3:30 p.m. They’re
playing a 45-minute set. Supercodex consists of Iwaz and Syed. While Iwaz is working on the
sounds through Ableton Live and some gears, Syed worked on their visuals made entirely
using TouchDesigner and linked through Resolume Arena. They are probably the perfect
example of how to make a themed thematic, one vibe and coordinated audiovisual
performance. Their performance established the signature of Supercodex and gave a solid
idea/inspiration from the unique experience. Iwaz made continuous ambient, drone, analogue
and experimental sounds/music. It was ethereal and captivating.

Their visual is different from the usual generative art that we often see. It’s hard to describe. As we’ve said, it is something
that they’ve made their own - their signature. The first half of their performance is a visual of a rotating form of a sphere,
cube, and somewhat like an icosahedron. Unlike the usual particles, the form was made from sparkles and looked
somewhat like “energy” chains connecting to each other. It was cinematic, and both trigger-play with the effect, but the
effect used was probably just one - a pixel sorting glitch from different directions. In the next half of the show, the visual is
much harder to describe. It somehow looks like a texture of the scale of an animal generated through diffusion effect. As
the music progresses, the more intense the sounds, the more it generates aggressively, and as it climaxes, the visual turn
fuller and brighter, giving the effect of strobing. Both visuals and sounds are perfectly coordinated and absolutely beautiful.
The visuals are treated correctly with the large quality matte white screen and a cinema-grade projector with lumens
higher than 10,000 lumens. For more imagery of the visuals, the next page does justice to the description written above.

203

Supercodex finished their set at around 4:15 p.m. Given the time, Euseng Seto (also known as Flica) and Fairuz Sulaiman
come on stage and set up their gear. There was a bit of a problem with the visual connection, but it’s all on our side. Fairuz
especially has quite a complicated set, but we saved it for the next pages since Euseng Seto wished to perform a 30-minute
solo audiovisual performance first. It’s also the second time Euseng Seto performed a solo audiovisual set, all visuals
entirely made by him. Euseng Seto is a prominent local ambient and electronic musician known internationally and signed
with international record labels such as Mü-nest, Schole, and Headphone Commute. Having toured around Europe, China,
and Japan, Euseng Seto never fails to charm the listeners with his tranquil and warmth sounds yet delicate craft
productions. Go ahead and search “Flica” on Spotify to listen to his alluring music.
204

205

For the first time, we ever get to see the mind behind both visuals and music. Seeing how the man
visualised his works were authentic and delicate. From what we saw, he generates the visuals through a
plug-in linked with Ableton Live. As you can see on the previous page, his visuals are only yellow colour and
mainly consist of fine lines forming a shape tunnel, slowly moving, sparkles with glitching now and then.
The sparkles and glitches were triggered every time there was a percussion sound, or he added an effect.
As the music intensifies, more lines are generated or the form changes. Jazzing only the Arturia KeyStep 37,
we are convinced you can do so much exquisite craft of sounds and visuals with such a minimal setup.
Thank you Euseng Seto/Flica, for gracing our stage.
Euseng Seto being lovely and supportive as ever, and it was always a pleasure and joy to invite him to play.
His neverending friendliness and humbleness always awe us with warmth and comfort. It has been a few
times, the organiser invited him to play for events, and he is always supportive and sporty in whatever setup
(and even technical issues) we have for him on the plate. He professionally handled everything swiftly, as
expected from a local luminary icon. Thank you so much Euseng Seto, for always believing in what we do.
206

Fairuz Sulaiman, another as lovely and humble as ever, also graced us with his usual routine – an analogue visual set. At
around 5:00 p.m., after the applause for Euseng Seto’s solo set, Fairuz came “below” the stage to start his thing. Fairuz was
always an eccentric, charming man with witty and honest behaviour. He insists on being at the front of the stage, below it,
instead of on top, while Euseng Seto remains at his table on top of the stage. Because Fairuz wants to be at the level where
the table is the same height as his chest to make it easier to conduct his “toys”. And also with the excuse of getting to see the
visuals much easier. Even though we didn’t provide much for Fairuz, he seems so dedicated to bringing a detailed and heavy
setup for his visuals. On the table, Fairuz brought a classic 4:3 small TV, two video camcorders, that small spinning turntable
that people usually used to showcase an action figure on top of it, and some coloured plastics. Fairuz is the part-time lecturer
and conductor for this subject, Generative Audiovisual trimester 2215. So his students are totally amazed and excited to see
their lecturer in action. We can see how much they value him from how the audience reacts. Along with Fairuz’s showcase,
Euseng Seto gladfully accompanied Fairuz’s set with his music. Euseng Seto and Fairuz Sulaiman have been good partners
working together when it comes to performing an audiovisual set, so they always vibe together.

I could say this is a type of generative art as well since the pattern of the visuals is based on natural occurrences from the digital
signals. The TV receiving live feeds from one camcorder makes it unstable with its own feed, producing unstable blue screen signals.
It’s like a digital mirror – the TV looks at its own face while it is switched on. Then the TV is covered with transparent crumpled plastic
to give it more texture. Fairuz took the second camcorder and played with angles, shooting back the TV appearance while capturing
the flickering effect and feeding it to his laptop.
He applied more effects and controls on his laptop using MadMapper and VDMX software. Within the performance, Fairuz will play
around with the coloured plastics and his toys, then feed the second camcorder with his spontaneous actions with the toys. He used
MapMapper to make different shapes and distort what the camcorder feeds. He also made different layers with varying visuals made
from one feed. He then applied more effects in VDMX, such as what looks like pixel sorting glitch, rotating cube, and particle
disperse. The whole experience was too abstract and experimental yet mesmerising and captivating.
208

209

The event ends at around 5:45 p.m. Followed by colossal applause,
thank-you shoutouts, and of course - the usual group photoshoot. It was a
successful day full of expressions, joy, gloom, excitement, and yet highly
knowledgeable. The crowd turn up to be around 400 people since it was a
come-and-go kind of event. But it was significantly fuller when it was
during lunchtime and towards the end of the event since it’s a time when
students didn’t have classes. Each artist showed their best in
performanceship, had their signature visuals or vibes, and they all played so
many kinds of good music. The kind we don’t often hear here in Malaysia,
even in clubs or underground gigs. We introduced everyone (even us) to
many new things such as live generative visual/art, motion tracking visuals,
algorave, music equipment, analogue setup, motion graphic inspirations
and ideas, different study method/approach, and of course – new music
itself from different artists.
The audience and crew were grateful that they’re being part of
HEREINAFTER based on their feedback. Referring to my master’s research
- Investigation on Local Digital Multimedia Audiovisual Performance
Culture, the audiovisual events here aren’t that big of a movement. Hanis
Hani, the organiser, with another alias Takashi Aiman in the scene, has had
VJ and DJ for over a hundred events since he was 20. I could say that an
event like this rarely happened, great music much more with a big
soundsystem, crisp visuals with a big projector, amazing and unique visual
content, niche and innovative artists, and a full-on amphitheatre setup
complete with acoustics. Our hearts went home satisfied and hit that
post-festival longing.
Again, the biggest shout-out goes to the amazing technician/ back-liner -
Mr. Raja Azizul, a.k.a. Ojo. Without him, this event couldn’t even have been
made. Thank you to Jason Goo as well for co-managing the exhibition next
door and for his dedicated hard work and cooperation making this together.
You are a special talent. We hope we’ve shared with you a lot of inspiration,
ideas, and education through this event. We finally utilised the MMU
Cinema (f.k.a. FCM e-Theatre) to be the first to do an event like this.
210