Watching Max Hattler’s Divisional Articulations is like watching a machine in motion. Even without knowing what any individual piece is for, there’s a satisfying chug to it, a hypnotic sense that everything is just where it’s supposed to be.

There’s a clear line from Hattler’s experiment back to John Whitney’s 1972 film Matrix III (Hattler himself pointed that out in interviews about the film), but the intricacy has been amped up to an incredible degree. Hattler makes the most of the retro-futurist comparison by borrowing from Bauhaus and constructivism for the film’s visual language—as simple as the component shapes are, they still read as a vision of industry, technology and futurism.

Fair warning to folks with ocular sensitivities: the visual feed back from this one can be overwhelming, and it’s probably best viewed on the biggest screen you can manage. Complex and intricate as it is, though, appreciating Divisional Articulations is all about the simple satisfaction of watching video and audio in perfect sync, and letting the boundary between your senses blur.


Divisional Articulations

dir: Max Hattler

syn: Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

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