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The mïus X Attaray visual project started in 2015 when they created a new comprehensive audiovisual look together with Attaray visual for the release of the new album of mïus titled Eigengrau in the big hall of Toldi Cinema. It has been an ongoing collaboration ever since and the concepts created by the band leader, Gergely Álmos and Andrea Sztojánovits (Attaray visual) have been pioneering in the system connecting music and image. Connecting image and sound in such a way has its long history, yet the technological innovation of the 21^st century with the efficiency of real-time processing has given artists a tool which has opened new perspectives in digital audiovisuality, in the synthesis of sound and image and meant a significant step on the field of live art as well as audiovisual performance.

Gergely Álmos is a musician who works as an architect, hence inspired by architectural mapping, he and Andrea Sztojánovits started creating their own unique scenography, based on object mapping, which had been present in their first show together as well, yet they have created new ‘geometric organs’ over the years. Colors, shadows and lights of the geometric organs react to sound which can be manipulated based on controllability. During the evolution of mïus X Attaray visual project – along with the evolution of VJing – the play of light has become the play of space, the control system of the projected space has been transformed from a lightorgan to a spaceorgan. The object mapping came to life by projection mapping, starting a new wave: the desire to construct spatial forms, the integration of sculpture into digital visual processes. Moreover, the so-called pixel mapping or timeline-based mapping is not other than structures constructed of controlled geometric forms created by LED lights, designed for light installations, which have also been integrated into the project by the creators.

Between 2015 and 2019 they performed their project titled The digital tale of geometric shapes in several locations, including the Glass Hall of Ludwig Museum in Budapest, in the frames of Ludwig Live, at Electronica: Vision of Soundfestival and at Splice audiovisualart festival in London, at Live Cinema Festival in Rome, in Palazzo delle Esposizioni.

As years went by white light has become one of the most important visual cornerstones of the project, its ephemerality created more harmony between light and music. From 2019 the group started focusing on the spatial expansion of light, on creating the spatial sound-light organ. This helped Naked Waves project to be born.

The first clear sound-light concept was finalized by the group during the pandemic, which was recorded in the main hall of Toldi cinema, during the Études au Toldi live sessionwhich became the release of the new music album Études de Battements. The musicality of the album is based on the rhythm practices of different musical styles, therefore the connection of sound and visuality could reach a greater visual and musical depth, which was documented in the form of music sheets.

Based on the sheets they visualized the space-light layers tightly connected to musical and rhythmic layers in the space of Toldi. The moving light changes according to its nature, it appears and disappears, this creates its role parallelly with musical ephemerality. The light approaches the sensation triggered by sounds during musical performances. The space of perception is distanced from being static, by the light which is forming and filling space, its reproduction becomes impossible. Light appears in a fraction of a second and it can disappear in the same way, in relation to musical sound. The presence of light influences space in a suggestive way and due to the way it is constructed, it can be interpreted in several ways. The more static light, which was yet originated from object, created endless, timeless space of installation, a moving immobility. Here the meaning is the form and the white light themselves, their sonic dynamism.

After the pandemic the group left the usual concert hall performances and started searching for new spaces and atmospheres. Leaving the world of clubs, the release of the newest album of mïus, titled How To was organized in front of 120 people in the industrial spaces of Art Quarter Budapest. They filled the the space of the former brewery with sound and fog for a night, where light started a dialogue with analogue musicality as a plastic and geometric form. They created a hybrid combination of genres which pushes the mentality of a traditional concert towards audiovisual performance, live act and light art sound-space installation, hence the transition between installation and concert erases the borders between the spectator and the band. The concert installation was built specifically for the space, it was a 360 degrees creation of space musically and visually as well, where there was a fully discoverable sense of sound and light, which altered according to the location, it could be heard and seen.