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be very interested in massive installations and performances, initially to get away from what we saw as the randomness and object quality of the monitor. We did not want to present our material by saying: this is what we mean, we wanted to stage it as a really impressive situation to be experienced. Seen in this way, the experience was our chief concern. Given that video is a poor pictorial format we came up with the idea of simply moving out into a larger field and using multiple projections to generate almost cinematic image resolution, along with three-dimensional sound. Despite this, we did not intend, or did not intend for long, to wear the audience out. There were protests of course, but that was absolutely ok in the context of being rebellious young artists. Today we sometimes see ourselves confronted with a romantic transfiguration of the early shock shows. We work differently now, and certainly use resources more precisely, focused in aggression.
Q: So is your sound all granular synthesis?
A: No, it varies considerably. On the one hand we have audio-visual material that is entirely coherent within itself. Then, within the framework of anything
that can work at all on the video grid as granular, that actually is a granular sound-image synthesis. And there are also several acoustic commentary tracks, some created earlier and some performed live. This is handled mainly intuitively, in live situations at least, and as a rule has nothing to do with granular synthesis. As well as this, there is a possibility of disassociating the sound entirely from the image and thus leaving the image alone, which doesn't sound particularly exciting at first, but works very well after an hour's synchronization. You can carry on listening to the sound the whole time, or conversely you can still see the image when the sound is flooding the dark space. We are playing with our core competence, as it were.Translation by Michael Robinson