Based on the idea of ​​synesthesia, Melvin Moti devised a plan to delve into two new techniques, namely music composition and the development of hand-drawn stop-motion animations. With this he wanted to be able to break new ground and reach a new audience. In his R&D application, he emphasized that this is not a side step but a deliberate extension of his working method: “I will see making music as part of my films, but also develop it as an autonomous part of my artistry. I am thinking of autonomous pieces of music that can also be performed as such (outside the museum world). Creating animations will allow me to tell stories that cannot be imagined through a camera.” As a final product, he aimed for a stop-motion animation film with accompanying music, inspired by the color wheels of composer Ivan Wyschnegradsky.

Since his studies at the art academy in Tilburg and at De Ateliers in Amsterdam, Moti has received the Charlotte Kohler Prize, the Dolf Henkes Prize and the ABN-AMRO award, among others. He is an advisor to the Rijksakademie and has had solo exhibitions in Berlin, Tokyo and Seoul. With photography and video he tells about visual culture in relation to neurology, history, spirituality and human consciousness. The R&D Committee saw his application as a solid way for him to broaden his professional practice.

Moti started this two-track research with an exploration of rhythms, music, software, recording possibilities and especially the synthesizer. He also learned to make 2D and 3D animations. He wrote music and developed two short animations, inspired by Wyschnegradsky's ultrachromatic compositions. For example, he had sound and image run synchronously, wavy tones in the music parallel to changing colours, for synergy between image and sound. Although he found these results too early to show, he continued along the same path to achieve new experimental and more mature results in order to be able to make them public.