In the design of a choreographic director element that acted in the role of the marine current and that agitated the autonomous agents, I finally opted for the use of a dynamic vector field. This allowed me to pre-design different geometric spaces where the agents could move in supposed harmony. I explored different geometric designs: circles, spirals, rectangles, triangles, hexagons, mosaics, waves, … or by means of sinusoidal or noise (gaussian, perlin or simplex) formulas.

The search for geometrical vector fields was key to get a uniform distribution of agents in the audiovisual scene. The fundamental goal, besides obtaining a visually appealing pattern, was to avoid holes or depopulated areas of agents, maintaining a uniform distribution of the agents all around the environment. That is why I generated algorithmically more than a hundred vector fields and I tested how the agents moved in them. Most were discarded because after a short time of simulation they produced unattractive movements of agents or depopulated areas were created.

In the design of the colors of the agents, I considered from the beginning that there was a close relationship between the movement of agents and their color. After different ideas, I chose to tie the color to the direction vector of the agents, so that all those agents that move in the same direction have the same color. The color palette of the agents changes depending on the geometry of the vector field.