I bet working for the 2012 Olympics in London was sort of a milestone for the studio. Please let us know what are the differences between working for such institution compared to any other type of commercial client.

There is an art to convincing larger clients to commission brave design which has never been done before. We have to gain their trust in our abilities, and ensure our radical ideas will be worth the risk.

Radiohead / Polyfauna

A few years ago you did a collab with Radiohead for a music app. Would you be so kind to explain that collaboration to us briefly?

We met with the band at their studio near Oxford, and we talked about the potential of the newly launched iPad as a new canvas to explore music. As an interactive 360° world, where every user has a unique journey through the Radiohead sound. Our conversation went back and forth for 2 years, as we shared digital demos and they shared music and surreal drawings with us.

The realm of digital channels has dramatically changed in the past 15 years. What do you think are the most and least positive consequences of this fact within the communication and the art fields?

Most positive – Anyone, anywhere can reach a global audience via social media. The best design rises to the top.
Most negative – There is sooo much content posted every minute, that viewers swipe past too quickly. Not enough attention is given to savoring the quality.

Screens of the Future: Prototypes 1-27

You like to experiment and do research work by combining algorithms, movement, textures and shapes, and how technology can interact between all these aspects. Could you be so kind to put this in your own words? What are the milestones in this process for you so far?

We spend 50% of studio time exploring and inventing new prototypes. We focus on finding new forms of figurative moving image, for new display technologies. Our milestone is finding our voice, in representing humanity in the digital age.

Hyundai Motorstudio – Kinetic Display Experience

Do you team up with any other artists, for instance musicians whom you can create some installation, VJ-ing or live show together?

I’ve worked with my brother, musician Simon Pyke, for 42 years 🙂
He designs for the ears. I design for the eyes.

A geeky tech question – when working with video walls, what type of software do you recommend to split out signal from the computer? In other words, do you have any favorite software to work with video walls which are not the standard video size?

We occasionally work with Watchout, but usually we create our own custom software to suit every video wall shape.