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Paul Mumford (Labmeta) 

is a director, designer and artist currently based in London. He is active across a range of motion graphics projects including music promos, shorts, commercials, installations, exhibitions and live performances.

Paul Mumford's various jobs and commisisions has led him to work on projects for artists such as Michael Fakesch, Franz Ferdinand, Kylie Minouge and Depeche Mode; companies such as onedotzero, Sony and MTV; and also at events and venues such as Sonar, Cybersonica, the ICA and the Tate Britain.

He has also tackled numerous personal projects of an ambitious nature bringing together research in the fileds of narrative and live performance with a contemporary flair for live cinema in projects such as Autometa and the Storycollector. At the heart of this work though is a love for stories, people and dreams, something that has driven his practice, manifesting itself as intricate, sensitive and contemporary motion graphics for live audiences and audio visual lovers.

 

Source: Labmeta

 

 

Paul Mumford is a designer and artist currently working in motion graphics across a range of music promos, short films and commercials with London based Blunt Films. At the heart of his work is a love for stories, people and dreams, something that has driven his research and his personal through his Masters Degree and current projects. While exploring VJing and visuals arts over the past ten years he has become centrally involved in the AVITUK festival as a co-director, founded the research and production group the Narrative Lab, held a regular VJ column for DJMag as well as performing across the UK and Europe at events such as the Big Chill, Cybersonica, UAF and Contact Europe.

 

Source: VJ Theory

 

 

Paul Mumford (Labmeta), london, design

Reading

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

Audio.Visual - On Visual Music and Related Media (2009) by Cornelia Lund and Holger Lund (Eds.) is divided into two sections: the first deals with the academic discussion on the subject of visual music; the second introduces contemporary paradigms of audio-visual praxis in brief presentations and contextualises them. Apart from being a guide in the historical sense, this new volume provides theoretical approaches to understanding and making visual music. (Fluctuating Images)

Links

 

SEE ALSO

Eye 76 (2010) is Eye's first-ever special issue on the dynamic and continually inspiring sector of design for music. Designers are in a privileged position to add visual drama to music; to make it more understandable and enjoyable; to communicate the intangible essence of vibrating air molecules into the worlds of words, images and moving graphics. Design can make music look good, but when they really work together you have magic. (Eye magazine)

Simple Harmonic Motion study #3a (2011) by Mehmet Akten is another study in simple harmonic motion and the nature of complex patterns created from the interaction of multilayered rhythms. Here 180 balls are bouncing attached to (invisible) springs, each with a steady speed, but slightly different to its neighbour. Visuals made with Cinema4D + COFFEE (a C-like scripting language for C4D), audio with SuperCollider. (Mehmet Akten)

Simple Harmonic Motion study #5d (2011) by Mehmet Akten is an ongoing research and series of projects exploring the nature of complex patterns created from the interaction of multilayered rhythms. This version was designed for and shown at Ron Arads Curtain Call at the Roundhouse. This ultra wide video is mapped around the 18m wide, 8m tall cylindrical display made from 5,600 silicon rods, allowing the audience to view from inside and outside. (Mehmet Akten)

Semiconductor make moving image works which reveal our physical world in flux; cities in motion, shifting landscapes and systems in chaos. Since 1999 UK artists Ruth Jarman and Joe Gerhardt have worked with digital animation to transcend the constraints of time, scale and natural forces; they explore the world beyond human experience, questioning our very existence. (FatCat Records)

Steve Reich: Second Movement (2006) - D-Fuse, in collaboration with director and designer César Pesquera performed with the London Symphony Orchestra for Steve Reich's 70th Birthday concert at the Barbican Hall featuring live video mixed to Reich's The Desert Music. (D-Fuse, PDF)