London based WEIRDCORE is half English, half French and results in a director and collaborator who is one hundred percent out there. [1]

Weirdcore’s work is the result of years of experimental design and animation work that pushes the boundaries of consciousness and visual interpretation. Adopting a method used more often by artists and music producers rather than by visual directors, Weirdcore helps both advise and visualise others initial ideas, facilitating their progress through until the finished form, whilst also creating his own stunning individual projects. With a unique blend of formats, colours, designs and mediums, Weirdcore has collaborated with some of the most exciting modern artists and directors such as Aphex Twin, M.I.A, Nabil, Hype Williams, Charlie XCX, Skrillex, Sophie Muller, Diane Martel and Miley Cyrus, in order to create innovative and groundbreaking videos, visuals, interactive installations and other projects. Weirdcore has also lent his emotive expertise to larger collectives, organisations and labels such as Warp, XL, Sony, Ninja Tunes and Domino, whilst keeping a dynamic and fluid focus across a range of other diverse industry’s such as Fashion, Theatre and Opera. [1]

Most recently, Weirdcore created a stunning CG world for Tame Impala’s “Cause I’m a Man” and is currently working alongside M.I.A.’s on her new album visuals. Drawing on elements that are highly structured, Weirdcore smashes conventional directorial ideas of where an image ends, paralleling universes seamlessly between 2D & 3D lending a one-of-a-kind twist to the graphic approach for videos, commercials, live visuals and fashion films. Weirdcore is driven by technology as an experimental exercise exploring artistic bipolarity with rough, raw style, hip yet always organic and with a definitive edge. [1]

Though he has achieved a level of success in his field, it's probably comforting to the musicians he works with that he views himself as a support unit to their own ideas. "I realize that when I speak to real artists like Florian Hecker or MIA, if I ask them questions as to why they do certain things, their answers are so deep or subjective, where I don't think like that at all," he explains. "I'm much more logical and straightforward, and all of my graphics are purely about aesthetics. No story or meaning to them, just purely about bold impact and causing a reaction. As far as I'm concerned, despite being very passionate about it all, I'm far too logical and driven by briefs and deadlines to be considered an artist." [2]

Robot music is an ongoing robotic research project between Goto80 and Jacob Remin, centered around automation, creation and loss of control. The project was initiated in 2017 and has been shown in various forms at Illutron (Copenhagen), Algomech Festival (Sheffield), Internetdagarna (Stockholm), 34C3 (Leipzig), among others.[1]

Central to robot music, is robotic arms that play music on a Commodore 64 and other sound machines. The robot remixes pre-made songs, or makes its own. While the robot performs, the artists sit next to it to talk to people about robots being “creative” and “stealing our jobs”. [1]

Tabor Robak is an American artist working in video art and electronics including live-rendering 3D graphics and custom built PC graphics installations.

Robak's early works consisted of 3D interactive environments, to be accessed on the artist's website. These pieces, which the artist described as having a "desktop screensaver aesthetic," sought to isolate digital space as a fact, an abstracted, alternate reality. Robak's work explores the visual vocabulary of modern video games, advertising and animated film, to examine societal perceptions of the digital and the real.[1]

Benjamin Fry (born 1975) is an American expert in data visualization. He is a principal of Fathom, a design and software consultancy in Boston, Massachusetts. He is also a co-developer of Processing, an open-source programming language and integrated development environment (IDE) built for the electronic arts and visual design communities with the purpose of teaching the basics of computer programming in a visual context. The Processing design environment developed together with Casey Reas won a Golden Nica from the Prix Ars Electronica in 2005.[1]