KRUNO JOŠT & RICARDO PALMIERI
Ricardo Palmieri (vj palm), 1978, is a video-jockey and architect graduate of the Universidade do Grande ABC (1997–2001) in Sao Paulo, Brazil. He took an unfinished masters course in Design and Architecture at FAU-USP in Sao Paulo, Brazil. He is currently a consultant for spatial development, scenery and interactive installations for artistic and commercial projects, using free software. More at http://palm.estudiolivre.org.
Kruno Jošt attended the Art Academy Zagreb (1993/94–1996/97) and the Gerrit Rietvield Kunst Akademie, Amsterdam (1997/98–1999/2000). He is the founder of the Urban Culture and Education organization. Since 2000, he has been developing the GentleJunk co. collective; since 2005, he has been a member of the IL.MURO.DEL.RUMUORE/NOISE.WALL performance group. Since October 2006, he has been contributing to Impromondays improvised music sessions in Zagreb.
http://www.gentlejunk.net/projects
Culture Robot
In collaboration with: GentleJunk co.
Maps show not only borders of one’s country with neighbour ones but also invisible borders – geopolitical, cultural and societal borders that exist within the country or any given community. This project will let visitors interact with the inhabitants (robots are based on an open source project of Jerome Demers) of a cultural map of a city or area. The map will show contemporary autonomous and free culture places and will be created with the help from people involved in the scene of autonomous cultural places in Slovenia (suggestions welcome). Robots will represent consumers of culture in the specific area. Everyone will be able to interact with them by drawing borders within which they will be allowed to move. The robots will express their happiness or sorrow according to the amount of culture they receive and places they visit during random movement around obstacles. The intent behind this interactive installation is to raise awareness of the social and political spheres that are affecting the sphere of autonomous culture. The robots and their tracking software are based on Pure Data free open source software.
MICHELE SPANGHERO
Born 1979 in Gorizia. Audio and visual artist. His interest is currently focused on improvised music (as double-bass player) and audio art in concerts and sound installations. He has exhibited and presented his audio-visual performances in various international contexts. He has carried out a project of sound records of the exhibition Cinetica: from Getulio Alviani’s collection. A selection of his electro-acoustic works has been presented at the Electronic Music Festival in Columbus, Ohio (USA). His discs Mimesys, Aqvarian, Unsound Zero and Desmodrones have been published by Dedalus Records.
http://www.shipyart.it/michele_spanghero
A Short-lived Fault In The System
photo Michele Spanghero
The source material of the interactive audio-video installation A Short-lived Fault in the System is a sampling of a 1920s futurist silence by Russolo, in which recording wear (vinyl distortions, dust, and scratches …) has in fact transformed silence into noise. The project analyses this “audio oxymoron” and interacts with it by including digital glitches to develop a composition in which noise and sound cannot be distinguished anymore. Similarly, the video originates from the analysis of the sound spectrum through an analogue system of jamming, interruptions and mistakes in the image signal, thus turning faults and imperfections into an aesthetic engine and the subject of the piece. The title of the project indeed refers to the definition of a “glitch” taken from Wikipedia: a short-lived fault in the system. The aim was therefore to create and develop an aesthetic system generated by glitches and faults, and to make connections between digital and analogue technologies (vinyl and cathode tube monitors with a computer and audio software) through a custom-made electric circuit. Technology is simultaneously the target and the core of the piece, shown as an aesthetic mean through its faults. The aesthetics of failure can be considered a dystopia (an anti-utopia) of modernism, a new post-digital point of view where the medium is no longer the message and technologies have been freed from their perfection through glitches and bugs. Failure is what guides evolution; as a matter of fact, a new utopia starts off with a failure in the system.
PASQUALE NAPOLITANO
Pasquale Napolitano is a researcher in design and visual communications. He graduated with honours at the University of Salerno with a thesis on the aesthetics of remix. He is currently working at the Industrial Design faculty at the same university, where he manages didactic visual communications laboratories as an expert of video design. He has participated in a couple of exhibitions as a visual artist, videographer and performer. He co-founded the Componibile 62 collective which is the curator of the SoundBarrier project.
http://www.soundbarrier.it
http://quota.splinder.com
SoundBarrier
Other people involved in the project: Stefano Perna, Piergiuseppe Mariconda, Ruben Coen Cagli
In the era of digital technologies, we can discuss acoustic or musical factors of an image in ways other than metaphorical. New kinds of connections are emerging. It is now possible to create interactions, driven by mathematical rules, between audible and visible media in a way that erodes the barrier between the two fields of sound and image. The Sound Barrier is the indistinguishable point where image becomes sound and sound becomes image. In this perspective, the need for a “reinvention” (Rosalind Krauss) of the video medium is central. This constant and militant re-mediation context is where our analytical artefact based on the Andy Warhol Empire tape finds its basis. The long film of the American artist is peculiar: it shows time – not the chronological time, but the enduring time, theorized by Bergson (a peculiarity noticeable in many other Warhol pieces as well as in other video artists that are referred to as the New American Cinema). During the eight hours of the film, Warhol never moves the fixed eye away from the skyscraper; such a way of proceeding means that the scanning of time is entrusted to the shake, flow and flicker of the film on the recording head. As in other works of that period, all the channel distortions become the incarnation of sense, that is to say, an ante litteram glitch. In mcluhanian terms: the medium is the message. The core of the project is: to try to map and sonorize these movements, vibrations and distortions of the film.
TANJA VUJINOVIĆ
Tanja Vujinović (Tatjana Vujinović Kušej, b. 1973) is a multimedia artist. She graduated from the Faculty of Fine Arts in Belgrade in 1999 and had been a guest student at the Kunstakademie in Düsseldorf. At the moment, she is pursuing postgraduate studies in Philosophy and Theory of Visual Culture at the University of Primorska, Faculty of Humanities in Koper. Her work includes responsive sound and video installations, software and internet-based art pieces, multimedia objects, and sound and video works. In her projects, she deals with various phenomena and concepts ranging from chance operations, identity, interfaces, noise, non-linearity and toys, to privacy, remixing, signals, sounds, and surveillance. She is currently working on Discrete Events in Noisy Domains, tactile-sonic objects or ambients made of multiple nonlinear video and sound systems that recode events into noisy audio-visual data streams.
Amjumix
Multi-media installation (shockwave application, slide projection, objects with optical Theremins, audio mixer), 2008
Credits: programing and sound: Tanja Vujinovic; Produced by: Exstat, www.exstat.org; Original games (Amju Super Cool Pool, Amju Super Golf, Amju Pet Zoo, Amju) and sound © Jason Colman, http://www.amju.com; electronic components: Lenart Kranjc
Amjumix is an homage to the Amju games created by Jason Colman. Functioning as a standalone application, the Amjumix interface enables access to a series of five setups with elements that behave in a semi-unpredictable manner and are dependent on user input. While exploring each set of dysfunctional game screens, each gesture on the screen itself creates additional glitches in the development of the audio-visual samples that are literally continually struggling to come to the surface of the screen or, in the case of sound, to be reproduced. Sometimes difficult to reach, the only element that allows the user to advance to the next “level” is indicated when the mouse cursor changes into a clock, enabling the user to circulate endlessly through loops of “levels”. The second part of Amjumix consists of five plush toys fashioned after the characters from the Amju games. The toys are placed in the proximity of a source of light, coming from a projector that reproduces glitched scenes from the actual games. Each toy contains an optical Theremin that responds to the light within its surroundings and reacts strongly to the brightness and colour intensity of the pictures, translating them into electronically processed noise.
ROBERTINA ŠEBJANIČ AND LUKA FRELIH
In her art projects, Robertina Šebjanič explores and works with various media such as video and spatial/ambiental installations and more broadly conceived cross-media projects. She had previously been featured as an independent author as well as in collaboration at many exhibitions and festivals in Slovenia and abroad. She is currently finishing her studies at the Academy of Fine Arts and Design (ALUO) and Famul Stuart – Applied Arts School, both in Ljubljana. In the academic year 2005/2006 she took advanced courses at the Valand School of Fine Arts in Gothenburg, Sweden (Department of Multimedia). In 2007, she won the Academy of Fine Arts and Design in Ljubljana Award.
Luka Frelih is a computer programmer with special affinity for open programming, a web page designer and media artist. He is one of the founding members of the Ljubljana Laboratory for Digital Media (Ljudmila) and one of its creative participants, and currently the leader of the Creative Commons Slovenia project. In 2004, he developed FRIDA V. – Free Ride Data Acquisition Vehicle – a project he presented at the DEAF 2004 festival in Rotterdam, at the Contemporary Slovenian Art 95’05 – Territories, Identities, Networks exhibition, at the MFRU 2006 festival during his residence in New York in 2005/2006, at the Crash Test Dummy festival in Ljubljana and München, Piksel festival in Bergen, and as part of the Orgnets project in Beijing in 2007.
http://www.ljudmila.org/pufination/
Pufination
photo Robertina Šebjanič
Concept, realization: Robertina Šebjanič, programming, consulting, realization: Luka Frelih, technical assistance: Alojzij Sinur and Janž Verbančič, production lead: Daša Lakner, produced by: Cyberpipe (Err0r)
Pufis represent microorganisms cohabiting in an open ecosystem. A group of objects functions as a sensitive sensor network. The visitor is woven into the artificially created “biosphere” through active sensor-based interaction. Without interaction, Pufination remains incomplete. There are no leading roles, we’re all cohabiting. The project emphasizes our relation to those we’re cohabiting with as an important element of our own survival. In Pufination, we find ourselves inside a simulated projection of our everyday lives. Decentralized control, response to close impulses, and following simple rules are what brings together the robots and the visitor in Pufination. The Pufi robots are based on the Arduino platform. They communicate with each other through a wireless network, and with people through touch, sound, light and vibration.
ROCH FOROWICZ
Born in 1978 in Warsaw. In 2005, he graduated from the Academy of Fine Arts in Warsaw, the Multimedia workroom, and received his masters degree. In 2007, he started working as an assistant professor of the Multimedia workroom at the Academy of Fine Arts in Warsaw. In 2007 he set up Upgrade!Warsaw. In the same year he participated at the Centre for Contemporary Art – Ujazdowski Castle, Warsaw, CONCRETE LEGACY FROM CORBUSIER TO THE HOMEBOYS with Invigilate and Looking out of the Window, at Turbulence with Interception, at Rhizome with Interception, and at neural.it with Interception; in 2008, he presented Interception at the Studio Gallery in Warsaw.
Selected exhibitions: 2004 e w n s Visual Arts Festival, Invigilate – video, 2005 Rhizome, Invigilate, Turbulence, Invigilate, 2006 FILE Rio Symposium, Invigilate, Turbulence, Environment, FILE Sao Paulo, Environment, Turbulence, Looking out of the Window,
2007 Centre for Contemporary Art – Ujazdowski Castle, Warsaw, CONCRETE LEGACY FROM CORBUSIER TO THE HOMEBOYS, Invigilate, Looking out of the Window, Turbulence, Interception, Rhizome, Interception, neural.it, Interception, 2008 Studio Gallery, Warsaw, Interception.
http://www.environment.pl/interception
http://www.environment.pl
Interception (2007)
Interception is a performance of pure “urban hacktivism”, held in Poland by Roch Forowicz, an artist from Warsaw focused predominantly on experimentations involving video technologies and dealing with surveillance and violation of privacy. In his latest project, Forowicz pushes his boundaries by physically removing a camera used for video surveillance and reinstalling it in an underground station in order to project the output on a wall. In this way his idea is to publicly show to the trespassers their own images tracked by movement tracking software. Surely an extreme concept – stealing a device to use it illegally and publicly, and providing unfiltered documentation of the event online. Even though it might seem sensationalist, such actions can play an important part in defining people’s imagery. By getting directly involved with “urban warfare”, the artist has the chance to modify the street furniture and change or invert its functionalities, even if just for a couple of hours, thus creating a strong communicative impact in the people who come across the event. This chance represents the very significant social part of Forowicz’s project – it is on this ground that the dichotomies within the rules of society become more evident. It is here where the “legality” of surveillance imposed by the establishment clashes with the “illegality” of creative citizens claiming back their private lives.
Tony Canonico
MAJA SMREKAR
Born in 1978, Maja Smrekar graduated from ALUO in Ljubljana in 2005 and later that year began her masters studies in video/new media at the same faculty; since 2003, she has been actively working in video and intermedia art and taking part in festivals and exhibitions in Slovenia and abroad. In 2004, she collaborated with the interactive computer game design and development company Zootfly d.o.o. as the art director in charge of the 3-d graphic environment. Since 2005, she has been collaborating with Radio Student, since 2006, she has been a member of the Sindikat audio-visual group, working as a vee-jay and coorganazing audio-visual events. In 2007, she was the programme editor at the Kinodvor art cinema in Ljubljana and one of the creators of the Kinozvočenja “live cinema” project. She directs her activities in art towards the field of contemporary art practices, particularly intermedia and video art, using them to construct a new perspective on our mediated societal reality to raise awareness of its clichés, taboos, and conflicted relations.
http://www.sindikat.tv/video/
http://www.sindikat.tv/foto/…
System Cassio:pia
photo Davor Bauk
Concept/Execution: Maja Smrekar, programming: Dejan Sakelšak, stage Direction: Daša Lakner, installation Design: Metka Pretnar, Or Ettlinger, execution: Error, produced by: Cyberpipe
The project illustrates the methodology of connecting various kinds of information in a system consisting of references of the fetishistic iconography of popular culture that represent a real part of the everyday of the society of spectacle. Through computer-generated images, these references represent the objectification and trivialization of the body image, combined with simplified and idealized references to science and technology, and through a mediated perspective posit themselves as representative fetishes. System Cassio:pia is a metaphor of insight into the reality of fiction – a reflection of a disturbance in the system of the everyday environment that is supposedly based on stability and clearly structured information. These “synthetic” structures are countered by a dramatic astrophysical phenomenon, while the identification of the consumer/user with the System Cassio:pia indirectly redefines the problem of mass media control over the individual. The phenomena of open source software and piracy within the Web have effected a “democratization” of the digital, opening the door for varied (artistic) production but also allowing for the development of a broad social dynamic that enables the creation of networks – digital communities that are developing into real zones of life and communication, where the desire for connectivity and equality is becoming the central point of a user’s identification. Through symbols that are the result of global communications and media technology and through formal deconstruction of these images, System Cassio:pia questions the various methods of media manipulation, which is reflected by the digitally modified material from e.g. YouTube (but originating from television, film, advertising and computer graphics) that we encounter every day.
TIME´S UP/ALEX DAVIES
Alex Davies is an Australian media artist who has worked with Time’s Up since 1999 when they met at a show in Sydney. His work deals with audiovisual perception and the creation of illusion and has been shown in Australia, Japan, Austria, Thailand, the United Kingdom, Germany, and on a ship on the Baltic Sea.
Time’s Up is a group of people with artistic, scientific and technical backgrounds based in the harbour of Linz/Austria. The work of Time’s Up follows a so-called proto-scientific approach. Objects and situations produced by Time’s Up are not exhibits of art, but rather publicly accessible experiments. Time’s Up’s main focus of investigation and research lies in full body human-machine interfaces, aspects of human perception and cognition, immersive VR techniques and the machine madness of our time. Time’s Up has shown their work in various international Festivals in Australia, Austria, Belgium, Croatia, France, Germany, Hong Kong, Italy, the Netherlands, Portugal, Slovenia, and Vietnam.
The Black Box Sessions
photo Time´s Up
Time’s Up and Alex Davies have asked a number of Austrian colleagues to work out a collection of performances for the HAIP festival. The performances will take place in a pitch black room that will be made visible to the solo audience member with an infrared camera and monitor system.
DARIJ KREUH & JANEZ JANŠA/Brainscore
Kreuh graduated from the Academy of Fine Arts Ljubljana in 1994 and then obtained his master’s degree in 1996 at the same institution. He is a researcher and new media artist engaged in manipulation systems within the field of digital technology. His work encompasses workshops, performances, interactive installations, net installations, sound installations and virtual reality. Communication interfaces in the relation between a human being and a machine are fundamental standpoints for the development of critical views of altered social paradigms as consequences of information processes. For the past few years he has been deeply involved in virtual reality systems based on publicly accessible technology. In the past he has, among other similar projects, developed an interactive educational programme for virtual liver operations, a model and navigational interface for interaction with virtual figures for a live TV show, a programme for virtual interactive planning of the operational procedure for treating a damaged pelvis, a back-projection system for stereoscopy, a mechanical interface for system simulations of rocket firing (army), a medical device for long bone surgery GUIDING STAR with module LIDIS – Less Invasive Distal Interlocking System (patent), a medical device for long bone surgery with module BATTIATO (long screw placement).
Janez Janša (b. 1970, Bergamo, Italy) is a conceptual artist, performer, and producer who graduated from the Academy of Fine Arts of Milan, Italy. His work has strong social connotations and is characterized by an intermedia approach. He is co-founder and director of the Aksioma Institute for Contemporary Art in Ljubljana. In 2001, he established (with I. Štromajer) Problemarket.com – the Problem Stock Exchange. The following year, Janša produced machinaZOIS. He then started development of DemoKino – Virtual Biopolitical Agora. In 2005, Janša established the platform RE:akt!, which examines the media’s role in manipulating perceptions and creating (post)modern historical myths and contemporary mythology. Parallel to these socio-political projects, Janša investigated the field of virtual reality and neurofeedback technologies, and from 2000 to 2002 developed and performed (with Darij Kreuh) Brainscore – Incorporeal Communication. Between 2004 and 2007, he led the Brainloop project; Janez Janša is also the co-editor (with Ivana Ivković) of the textual and pictorial reader DemoKino – Virtual Biopolitical Agora, published by Maska and Aksioma in 2005, and of the book NAME – Readymade, published by Moderna galerija / Museum of Modern Art in Ljubljana in 2008.
Brainscore (2002)
Computer programming: Tadej Fius, Eye-movement tracking system: Iztok Lapanja, Sound design: Rainer Linz, Costumes: Marcela Okretic, Graphic design: Janez Janša, Producer: Eva Rohrman
photo Miha Fras
A performance for two operators who perform in a virtual reality environment through their avatars. The task is achieved by triggering commands on a console through a system based on operators’ brainwave signals (neurofeedback technology) and an eye movement tracking system. The aim of the performance is to create a controlled flow of information in terms of audio-visual messages in order to establish communication with the audience. The information flows from the physical space into the virtual (performers > avatars) and then back (avatars > audience). In this sense, avatars assume the role of intermediaries (or couriers) of information, acting as a “virtual filter” between the performers and the audience. The virtual reality environment is projected in stereo, allowing viewers to watch the performance wearing polarized glasses and thus enabling them to perceive the events in 3-D, as if they were appearing between the two performers.
Documentation of the project will be shown at the exhibition.
http://www.aksioma.org/brainscore/
Documentation of the project will be shown at the exhibition.
JANEZ JANŠA/Brainloop (2006)
BCI performer: Markus Rapp, BCI supervisor: Reinhold Scherer, Programmer: Suncica Hermansson, PD programmer: Seppo Gründler, Sound designers: Brane Zorman and Seppo Gründler, Executive producer: Marcela Okretič, Production: Aksioma – Institute for Contemporary Art, Ljubljana, Co-production: VisionSpace, Department of Information Design, FH Joanneum – University of Applied Sciences, Graz, Austria; Institute for Knowledge Discovery, Laboratory of Brain-Computer Interfaces, Graz University of Technology, Graz, Austria, Supported by: the Ministry of Culture of the Republic of Slovenia, the Municipality of Ljubljana, Partners: g.tec.-Guger Technologies medical and electrical engineering, Sinfonika, Special thanks: Prof. Gert Pfurtscheller, Gerhard Eckel (IEM – Institute of Electronic Music and Acoustics, Reni Hofmüller (ESC Im Labor), Andrej Kregar (VPK), Jochen Martin, Rupert Lehofer, Jana Wilcoxen
photo Janez Janša
Brainloop is an interactive performance platform that utilizes a Brain-Computer Interface (BCI) system which allows a subject to operate devices merely by imagining specific motor commands. These mentally visualized commands may be understood as the rehearsal of the motor act without the overt motor output; a neural synapse occurs but the actual movement is blocked at the corticospinal level. Motor imagery such as “move left hand”, “move right hand” or “move feet” become non-muscular communication and control signals that convey messages and commands to the external world. In Brainloop, the performer is able – without any physical movement – to investigate urban areas and rural landscapes as he globe-trots around virtual Google Earth. Through motor imagery, he selects locations, camera angles and positions, and records these image sequences in a virtual world. In the second half of the performance, he plays back the sequence and uses Brainloop to compose a custom soundtrack by selecting, manipulating and relocating audio recordings in real time into the physical space.
http://www.aksioma.org/brainloop/
Documentation of the project will be shown at the exhibition.
LUKA PRINČIČ
Luka Prinčič is a musician, sound designer, and media artist. As a composer, performer, and programmer, he works the fields of sound and intermedia. His focus is the performance and creation of sound/noise/music, of audio-visual and electro-acoustic performances or intermedia interventions into the physical and mental-emotional space. Intertwined fields of his work include the Pure Data workshops, interactive installation programming, generative video and editing, AV collaborations, and development and use of open software. His work is focused on self-reflective and socio-critical use of new technologies within contemporary audiovisual performative contexts.
In-between Gaze
“POGLED VMES / lucid unreason”
When we look into ourselves, into our tenderness and frailty, it takes us some time to realize that they are the result of pain and unexpressed anger. We create a simulacrum out of our bodies, under which nature screams, artificial or not. Radio/TV imagination arises from electromagnetic waves, the things we try to see in the falling autumn leaves, in the abstractions of computer code, in the low rumbling of techno-bodies. In public space, a glance and a sound are an intimate experience, on the way to the location, searching the frequency spectrum and finally finding the right station is a becoming of an inner experiential environment, of a changing landscape into which content, received through the miniature TV set in hand and a pair of headphones, can settle. There is no address, only confrontation, inflow, penetration, or withdrawal and refuge.
Various public spaces in the centre of Ljubljana. All instructions available at Cyberpipe. Opening on October 30 at 20:00 in Cyberpipe.
ANDERS CARLSSON aka GOTO80 & AUTOBOY
HT Gold
Flow is an essential part of the capitalist world and the society of the spectacle, in which all images have become empty and meaningless, or as Baudrillard wrote in the 80s, their meaning has imploded.1 In 1957, Guy Debord founded the Situationist International, a collective that developed several socio-aesthetic practices that could be used to interrupt the cultural systems of advanced capitalism. One of these practices is the process of detournement, which means to repurpose parts of the spectacle to expose their internal logic. As a result, the flow and conventions behind a platform can become apparent to the user.
foto Rosa Menkman
The modified videogame HT Gold (Goto80 and Autoboy, 2008) is an example of an artwork that redefines its platform through the use of what I would like to argue is similar to detournement.2 HT Gold is based on a competitive ice hockey game called Hat Trick (Capcom, Bally/Midway, 1987), programmed for the Commodore 64. Through changes to the code of the original game, it has become a game with improved functionality and less competition.3 In short, the algorithms that define its playability, the laws of physics, steering, and scoring have been destabilized, while the music has been replaced with a new song that synthesizes the original sound effects by “ring modulation”, a feature of the C64 sound chip. The modified algorithms, visuals, and sounds generate a new ensemble; in which winning is still possible but can’t be controlled anymore. The visual and the audible gain importance over competition and the outcome of a game is no longer a score but a colourful, musical experience. In terms of detournement, the videogame has been repurposed from a sensible game engine into an art generation tool.
ROSA MENKMAN
Radio Dada (3:44)
Music: Extraboy
The video-images are constructed out of nothing but the image created by feedback (I turned a high-end camera on a screen that was showing, in real time, what I was filming, creating a feedback loop). Then I glitched the video by changing its format and subsequently exporting it into animated gifs. I (minimalistically) edited the video in Quicktime. Then I sent the file to Extraboy, who composed music for the video.
frame from the Radio Dada video
The composing process started with a hand held world radio. Extraboy scanned through frequencies and experimented with holding the radio in different parts of the room while touching different objects. Eventually he got the radio to oscillate noise in the tempo that he perceived in the video. The added synthesizer sounds were played live to further build on the non-digital sound and rhythm. This was later contrasted with drums which were digitally synthesized and processed through effects with a very digital sound to them. Just like with the video, the digital and analogue media and aesthetics of sound are mixed into one coherent whole.
Rosa Menkman
Radio Dada (3:44)
Music: Extraboy
The video-images are constructed out of nothing but the image created by feedback (I turned a high-end camera on a screen that was showing, in real time, what I was filming, creating a feedback loop). Then I glitched the video by changing its format and subsequently exporting it into animated gifs. I (minimalistically) edited the video in Quicktime. Then I sent the file to Extraboy, who composed music for the video.
frame from the Radio Dada video
The composing process started with a hand held world radio. Extraboy scanned through frequencies and experimented with holding the radio in different parts of the room while touching different objects. Eventually he got the radio to oscillate noise in the tempo that he perceived in the video. The added synthesizer sounds were played live to further build on the non-digital sound and rhythm. This was later contrasted with drums which were digitally synthesized and processed through effects with a very digital sound to them. Just like with the video, the digital and analogue media and aesthetics of sound are mixed into one coherent whole.
Rosa Menkman
