The series of performances Terminal work with the effects of presences that are alien, that are not of the body. The concept of ‘Terminal’ manifests itself for instance in someone who is dying: medical apparatus exhibits a sort of consciousness, often in the shape of electrical impulses, whilst the body itself can be seen as a dead object. Sometimes it seems as if an alien presence overtakes our nervous system, allowing a routine action to degenerate into nervous contractions of the muscles. The sound design matches this idea of a spiritual presence by capturing, processing and recalling signals that float through the air, through rooms, through bodies. This performance’s sound was made by means of ‘multiple digital processing’ of recorded software or system failures. The concept of ‘Terminal’ also implies that bodies can be compared with processing units, which calculate input-streams and alter them to produce a transformed output. The relation between eye and camera lens is predominant in ‘Terminal’. Input of visual data is of the greatest importance to the human way of acquiring knowledge; it is a form of ‘reality processing’. In ‘Terminal’ the information processing of both man and machine glide inter-twined along one another, sometimes they fuse together, sometimes they break apart.

This work has been digitised in the frame of DCA Project