(United Kingdom - Reino Unido | Greece - Grécia | Germany - Alemanha)

PALMER ELDRITCH (DENIAL OF SERVICE) - Palmer Eldritch, aka the Denial of Service, aka H. Martis is a multi faceted audio-visual producer/artist who, along with work in the production studio since the early 80s (in excess of 30 releases), is also a critically acclaimed video artist and music video director (5 Vimeo Staff Picks, member of the Vimeo VIP Directory, Red Dot Agency of the Year (2012 w/Beetroot), ED, Epica awards, 2 exhibitions at the BFI London, permanent exhibits at the Harvard-curated NYX Gallery (Boston US), the Generative Art Project (Austin TX US) etc.

Recent & current works being thoroughly featured in festivals worldwide such as Ars Electronica, Berlin Music Video Festival, Denver Digerati, TAA London, ArtUp!, Holywood Shorts, Form Follows Code, FIVA, Krakow Festival etc.

Previous visual work includes videos crafted alongside own musical work & also for many others including David Bowie, dir. Barnaby Roper, Extrawelt, Rawtekk, Crowhurst, Unknown Archetype, Modular Expansion, djKero, dir. Adam Powell, Gabi Delgado (DAF), In Aeternam Vale, NöVö, Kore Kosmou, Mechanimal, J.Banks and other artists/bands.

Selected clients include Microsoft, Pause Festival, Mute records, Mediatemple, Detroit Underground records, Blueprint records, Hospital records, Black Dog Productions /Ridley Scott Assoc., Johnson & Johnson, SONY Music International, Channel4/E4/Radio4, Nestle, Nissan, ModernPostNYC, VellemNYC, CadenceNYC, CFDA Awards NYC and others.


RAWTEKK: Here's To Them






(United Kingdom - Reino Unido | Greece - Grécia | Germany - Alemanha)



1-1S  RAWTEKK: Here's To Them  -  Palmer Eldritch (Denial of Service)  1ª SESSÃO | 1st SESSION

IMAGE PLAY ► International Video Art Festival - IV Edition 2022 (Funchal, Madeira - Portugal)


Palmer Eldritch (Denial of Service) Director, Visual Art Concept, Images, Animation, Effects and Montage

+  Music. Rawtekk

+ Voice sounds: Christine Westphal

Processing 3.x > Voronoi /Delauney triangulations w/Llloyd's relaxation, 3D PFtrack


Smoke a bit too much dope, and you can experience depersonalization. But what about when you take nootropics, the so-called "smart drugs?" In the video for Rawtekk's "Here's To Them," filmmaker denial.of.service attempts to find out. Working with iPhone footage and Microsoft Kinect 3D scans, denial.of.service not only explores "hardcore nootropic"-triggered depersonalization, but also dystopia, observation, and reaction.

The results of denial.of-service's scripting in Processing 3.x are incredibly mind-bending. It's by turns dark, geometric, molten, and in a perpetual mode of shape-shifting. "Both the sonics [and] keyword/general concepts list I'd requested from the band led into this rather bleak cybernetic mashup of broken 3D scans CG and heavy stylization via code," denial.of.service tells The Creators Project.

"Christine Westphal's (the voice of Rawtekk) processed footage came from a rough and quick mobile phone recording sent in by the band," adds denial.of.service. "The rest was either fast 3D scans carried out with my cheap-arse sub-€79 Kinect v1 (point clouds captured via Brekel's code) and some crude 3DS Max close-up humanoid renders."

Denial.of.service explains that within Processing, toxi libraries-open-source libraries for computational design tasks like generative visuals-were used. Specifically, RGB-plotted, sound-reactive centroids (the intersection points of a triangle's three medians) define and drive the various geometric shapes seen in the video. Denial.of.service also used Lloyd's relaxation algorithms to get a smooth transition between the geometries.

To create the forest scene, denial.of.service made computer graphic liquids in Trapcode's Form. The 3D point cloud animations were extracted from the 3D tracking software PFtrack in many successive layers of increasing depth, which gives the video its sense of dimensionality and volume.

"The whole piece took less than 10 days from conception to completion," denial.of.service says. "This includes the coding enhancements upon scripts I'd devised a couple of months earlier for my Unknown Archetype heavily-triangulated piece."

Combined with Rawtekk's music, the video experience is a harrowing one. If nootropics has this sort of dystopian effect, then maybe humanity should keep to its organic mind-altering substances.

 TÍTULO - TITLE              DURAÇÃO - TIME          ANO - YEAR            PAÍS - COUNTRY            FORMATO - FORMAT
   EXTRAWELT                         04'32''                                  2013             
(United Kingdom - Reino Unido |                     16:9    

  - BREEDLE                                                                                                                        Greece - Grécia |                                                                                                        Germany - Alemanha)

3-2S EXTRAWELT - BREEDLE - Palmer Eldritch (Denial of Service)  2ª SESSÃO | 2nd SESSION

IMAGE PLAY ► International Video Art Festival - IV Edition 2022 (Funchal, Madeira - Portugal)


Palmer Eldritch (Denial of Service) Director, Visual Art Concept, Images, Animation, Effects and Montage

+ Music: EXTRAWELT / Traum Schallplatten

C++ framework, Mandelbulb3D, Mandelbulber, Fragmetarium command line renderer, Structure Synthesizer, Adobe Pixelbender framework, vvvv, Processing, Adobe After Effects, Trapcode Particular.


Consists entirely of C.G. animated fractal explorations created via manipulation of the basic mandelbrot fractal formula in 3D and then edited in sync with the audio.

Most of the software used for the creation of the fractal sequences comprised either open-source or experimental bits and pieces of code which i had to (re)compile and mingle with, in order to shape the implicit geometries/surfaces, as well as, the viewport coordinates so as to fake a virtual camera fly-by or fly-through motion.

As the track unfolds, 3D space is manipulated in order to expose constantly evolving, transforming and mutating recursive structures - journeying from the esoteric hyper-complex organic, to terra-forming inorganic implicit surfaces down to a level of detail of their very pores.

Simulated ZDepth sequences were also produced throughout the process in order to induce extreme depth of field lense effects for a more photoreal macro aesthetic.

 TÍTULO - TITLE               DURAÇÃO - TIME             ANO - YEAR            PAÍS - COUNTRY            FORMATO - FORMAT
DENIAL OF SERVICE                 04'03''                            2022               (United Kingdom - Reino Unido |                   16:9

        - ONRYO                                                                                                          Greece - Grécia |

                                                                                                                            Germany - Alemanha)              

17-2S DENIAL OF SERVICE - ONRYO - Palmer Eldritch (Denial of Service) 2ª SESSÃO | 2nd SESSION

IMAGE PLAY ► International Video Art Festival - IV Edition 2022 (Funchal, Madeira - Portugal)


Palmer Eldritch (Denial of Service) Director, Visual Art Concept, Images, Animation, Effects and Montage

+ Music: Onryō EP 

+ Reaction diffusion:  modifications on open sourced code by Paul Fennell

+ Sonifications: mods on open sourced code by Tomasz Sulej


Onryō features scan lines, bodily figures, and what its creator calls "excruciating rotoscoping.".

While a computer may never see the world the same way we do, the latest work from algorithmic audiovisual art adept denial.of.service does a deviously good job depicting what it might look like if you invited an artificial intelligence to a night out at Berghain-from its perspective, of course. "Most of the reaction-diffusion sequences [in "Onryō"] were created in Max/Jitter courtesy of Paul Fennell's generosity and ultra-efficient and mathematically/chemically correct open-source code which I modified to suit. Some were concocted on Ready," the artist behind inarguably the most horrifying Deep Dream video told Stash Magazine back in February. To their own credit, Stash acquired the piece, known as "Onryō", for their own permanent collection.

"Most overlays were the result of copious P3.x multiscale Turing noise patterns experimentation, as well as, sonifications courtesy of Tomasz Sulej," denial.of.service writes in his video's description. "Certain parts of this piece make use of motion reference (extracted vectors /OpticalFlow), as well as, processed sequences from Susi Sie's seminal & highly inspirational motion work Soundscapes with deepest gratitude for the kind permission."

Even if it sounds a lot like technospeak, it's par for the course for the mysterious digital artist. Thankfully, judging by the ample documentation denial.of.service provides, we have a hunch it's meant to make you "get it" too.