Real-Time Geometric Visuals And Performance With Yogetsu, Vaskilintu And Omnigeometry

A Ceremony Of Sound, Light And Digital Form

At Biohacker Summit 2022 Helsinki, an art performance on Friday, 3 June 2022 turned the conference stage into something closer to a ritual chamber than a conventional presentation hall. Under the title Art Performance - Yogetsu, Vaskilintu & Omnigeometry, the collaboration fused improvised music, voice work and live-generated visual art into a single, breathing environment.

The performance brought together Zen Buddhist monk Yogetsu, vocalist and soundscape artist Magdalena Vaskilintu, and the real-time geometric visual system Omnigeometry. What emerged was not simply accompaniment, but an attempt to make sound visible, to translate vibration into shape, and atmosphere into luminous pattern.

Sakkari Introduced The Software Behind The Vision

Opening the presentation, speaker Sakkari explained the source of the projected imagery with plain clarity. “All the geometries and the digital mandalas you see here on the screen are created with the software I have developed called Omnigeometry,” he said.

That statement grounded the performance in both artistry and technical invention. The mandalas and shifting geometric structures were not pre-rendered backdrops. They were built live, on stage, through software designed specifically for this purpose. Sakkari added that the same visual language had also been used by Teemu and Vesa in artworks across the event, placing the performance within a broader ecosystem of experimental design at the summit.

Visuals That Moved With The Music

The central promise of the performance lay in synchronization. Sakkari told the audience that the geometry was being created in real time and adjusted directly from his laptop as the performance unfolded. “I am performing with Yogetsu and Vaskilintu, and all the geometries you see here are created in real time,” he said.

It was an important distinction. Rather than treating visuals as decoration, the piece positioned them as a responsive instrument. Software adjustments were made on the fly so that patterns could evolve in line with tone, cadence and emotional force. “This geometry has been made in real time with this software, and I can adjust the visualization from my laptop,” Sakkari said.

The effect was to collapse the distance between sound and image. Auditory resonance became shifting structure on screen, digital mandalas opening and reforming as if they were listening.

Translating Vibration Into Pattern

Sakkari described his role not as a controller of the spectacle, but as a mediator between performers and projection. “My role here is to show the introduction to these patterns,” he said, before explaining that he would try to “tap into their vibration, their frequency and transfer that into the pattern.”

That phrasing captured the performance’s deeper ambition. This was not merely audiovisual synchronization in a technical sense. It was framed as energetic translation. Yogetsu and Vaskilintu generated the live current through voice, rhythm and presence, while Omnigeometry converted that current into visible order.

Such language can easily drift into abstraction, yet here it served a practical function. The visuals changed because the performers changed. Frequency, mood and movement became inputs. Geometry became a record of relation.

Vaskilintu’s Mystical Voice Met Yogetsu’s Meditative Presence

Magdalena Vaskilintu’s role in the piece carried a distinct emotional charge. Described in the event biography as a “true feminine manifestation of divine flow and well-grounded structure,” she was presented as an artist whose voice moved beyond performance into guidance. Her soundscapes and voice work were intended not only to enchant but to lead listeners through emotion, memory and healing imagery.

Alongside her stood Yogetsu, the Zen Buddhist monk whose presence lent the collaboration a meditative anchor. Together, they shaped a fully improvised sonic landscape, one that allowed the visuals to feel less like digital effects and more like extensions of breath, chant and attention.

The performance’s opening mantra, “Sa Ham Ram Ra Ram Nya Ram Sam,” underscored that intention. Repeated syllables became both sound and signal, a vocal patterning that the geometric projections seemed to answer in kind.

A Stage Where Technology Served Presence

What made the Biohacker Summit 2022 Helsinki presentation notable was its refusal to place technology above embodiment. Omnigeometry was sophisticated software, but its purpose was not to dazzle for its own sake. It was used as a bridge, converting intangible qualities such as vibration and atmosphere into visual language without severing them from the live moment.

That is a difficult balance to strike. Too often, digital performance overwhelms the human source that animates it. Here, the software appeared to remain in service of presence: Yogetsu’s calm, Vaskilintu’s voice, Sakkari’s responsive manipulation, and the contributions of Teemu and Vesa to the event’s wider visual texture.

The Lasting Impression

In Helsinki, on the opening day of Biohacker Summit 2022, Art Performance - Yogetsu, Vaskilintu & Omnigeometry offered a compact but striking proposition: that code, chant and improvisation could occupy the same sacred-seeming space. The presentation suggested that geometry need not be static, and that digital art, in the right hands, could feel less manufactured than revealed.

For a few minutes, the screen did not merely display images. It listened.

Frequently asked questions

How were the visuals made?

Live. All the geometries and the digital mandalas you see here on the screen are created with the software I have developed called Omnigeometry, Sakkari told the audience, grounding the performance in technical invention as well as artistry.

What made the synchronisation matter?

That nothing was pre-rendered. Sakkari said the geometry was being created in real time and adjusted directly from his laptop as the performance unfolded, which is an important distinction from a visual backdrop played alongside music.

How did he describe his own role?

Not as a controller of the spectacle but as a mediator between performers and projection. My role here is to show the introduction to these patterns, he said, before explaining that he would try to tap into what the musicians were doing and translate it into form.

About the event

This recap is part of the Biohacker Summit 2022 Helsinki series, recorded in Helsinki on 3 and 4 June 2022. Read the summary of the whole event or join the next edition, HOLOLIFE Summit 2026 Amsterdam, on 14 and 15 November 2026.