Taking its cue from our previous ‘expanded cinema’ work The Grand Delusion, Matter, too, uses a three-screen tryptych arrangement in the live presentation. Matter, however, uses the flanking loops a bit differently. Where the previous work created widescreen collage spectacles braced with symmetries and compositional nuance, Matter’s loops superimpose visual rhythms on top of the musical ones, emphasizing first the downbeat, then the accent, then perhaps falling between beats. Something like jazz, the effect is not lock-step, but rather a looser relationship between rhythm and melody, and in this case, the visuals are included in that formula.