 Hi, I'm Emily Yoshida with The Verge, and we're here at the first ever Panorama Festival in New York City. And right behind me is The Lab. The Verge is an incredible interactive art space. We talked to Beau Burrows, one of the artists with work in The Lab, and Alex Frankel and Nicholas Milhiser of Holy Ghost about making magic out of sound, light, and digital effects. So for Panorama, we built something that we are calling Visceral Recess. We kind of channeled those bioluminescent deep sea creature vibes to create something that you can go inside and roll around in and press on and that will react to your presence as much as you react to it. Welcome to The Lab. Thank you for having us. So we're sitting inside a thing I built that is meant to look like intestines that light up. I'm kind of trying to beautify your inner guts so that people are more comfortable with themselves internally. I don't know if it's because DMX protocols are kind of old and archaic or because sometimes the lighting guys aren't totally keyed in with the bands that play. Do you guys have any feelings on stuff you want to do in the future in terms of how visuals tie into the musical performance? Yeah, like DMX is very antiquated. It's very similar to MIDI, which is similarly antiquated. But they're basically the same language. Being musicians, we're familiar with MIDI, so we use MIDI to write lights. I think honestly one of the biggest obstacles is oftentimes LDS aren't musicians and musicians aren't LDS. Because you have these two different languages, there's always some rub for something that really should be very simple and easy and musical and it should be something that you should be able to play live. So this is Gabriel Palacio's piece called Infinity Wall. For Panorama, we're building an immersive installation made out of Infinity mirrors and see-through mirrors. It will be triggering ripples of light through the installation. So this is TouchDesigner, the same one I use for mine, the same one Dave and Gabe is using for theirs. And it is really, really good at doing data processing, so you can input tons of data. You can have audio-level sample rates like 44.1 kHz data going through it. But it's really great because it all runs on the GPU, so you can process massive arrays at the same time. So ConnectData is a great example. It comes in as video data, but you can turn it in to just float values and use it for anything. So that's what they're visualizing here. And then Lucas is an LED guy that we work with on a lot of stuff, who's pioneered LED work in TouchDesigner especially. And he built this visualizer in here with Daniel Schaefer, another guy. Everyone kind of has a hand in all the things. I feel like there's tons of potential in syncing visuals with music and keeping that one cohesive thing. It really feels like we're at the nerd table in a cafeteria. This is that. This is true.
 Hi, I'm Emily Yoshida with The Verge, and we're here at the first ever Panorama Festival in New York City.
 And right behind me is The Lab. The Verge is an incredible interactive art space.
 We talked to Beau Burrows, one of the artists with work in The Lab,
 and Alex Frankel and Nicholas Milhiser of Holy Ghost about making magic out of sound, light, and digital effects.
 So for Panorama, we built something that we are calling Visceral Recess.
 We kind of channeled those bioluminescent deep sea creature vibes to create something that you can go inside and roll around in
 and press on and that will react to your presence as much as you react to it.
 Welcome to The Lab. Thank you for having us.
 So we're sitting inside a thing I built that is meant to look like intestines that light up.
 I'm kind of trying to beautify your inner guts so that people are more comfortable with themselves internally.
 I don't know if it's because DMX protocols are kind of old and archaic or because sometimes the lighting guys aren't totally keyed in with the bands that play.
 Do you guys have any feelings on stuff you want to do in the future in terms of how visuals tie into the musical performance?
 Yeah, like DMX is very antiquated. It's very similar to MIDI, which is similarly antiquated.
 But they're basically the same language. Being musicians, we're familiar with MIDI, so we use MIDI to write lights.
 I think honestly one of the biggest obstacles is oftentimes LDS aren't musicians and musicians aren't LDS.
 Because you have these two different languages, there's always some rub for something that really should be very simple
 and easy and musical and it should be something that you should be able to play live.
 So this is Gabriel Palacio's piece called Infinity Wall.
 For Panorama, we're building an immersive installation made out of Infinity mirrors and see-through mirrors.
 It will be triggering ripples of light through the installation.
 So this is TouchDesigner, the same one I use for mine, the same one Dave and Gabe is using for theirs.
 And it is really, really good at doing data processing, so you can input tons of data.
 You can have audio-level sample rates like 44.1 kHz data going through it.
 But it's really great because it all runs on the GPU, so you can process massive arrays at the same time.
 So ConnectData is a great example. It comes in as video data, but you can turn it in to just float values and use it for anything.
 So that's what they're visualizing here.
 And then Lucas is an LED guy that we work with on a lot of stuff, who's pioneered LED work in TouchDesigner especially.
 And he built this visualizer in here with Daniel Schaefer, another guy.
 Everyone kind of has a hand in all the things.
 I feel like there's tons of potential in syncing visuals with music and keeping that one cohesive thing.
 It really feels like we're at the nerd table in a cafeteria.
 This is that. This is true.