The circularity of hospitable spaces and related political-performative processes was most boldly manifest in the performance →back to front← (2005), where I addressed the audience by slowly walking towards and away from them for a durational time frame, too long to be comfortable, too short to erode the action’s significance, slowing the motion of both getting closer and creating distance, provoking and approaching, following the rhythm of breathing, modulation of gazes and tiny gestures between us.
a gaze passed between us.
Is there another side to the subjective?
And how is it to be on this other side?
(Excerpt from the script →back to front← (2005) projected in light lines during the live-performance.)
I narrate the performance in retrograde, as this seems most appropriate to the titles instruction. Before the sound triggered through video-motion sensing (used software lloopp) alongside gradual darkening of the light as the camera catches progressively black, the dancing, camouflaged body disappeared in dim. The progressive dissolution of the site of the body into dark matter interacts with the soundscapes creeping towards white noise fading over a long duration into silence and darkness. The music works in that sense as a magnifying glass or lens for the processes at work: the bodies dissolution and de-bordering. The soundscape is composed by the encounter of human body and algorithmic apparatus. Textual structures return in loops and become light, as they are projected onto transparent lines of hanged roles of paper that spread along the floor, indicating a pathway, a vanishing line in perspective. Before I walk the fine line between myself and the audience, I had been sitting nude, with my back facing front, the breathing motion of my lungs and the whole back filling with oxygen, synchronised with the movement of a ‘breathing’ light, the in and out of focus of an indecided slide projector, unsure what to focus on. There were short texts – fragmented lines of thought – the feedback collected from audiences of previous performances, projected as light, moving across the transparent skin of the paper screen in the speed of a typewriter written by invisible hands. Both, beginning and end of the performance were starting with feedback loops. When the audience entered the performance installation they were invited to feed the cello-machine, which was a prepared cello for creating sounds through touch (transmitted by the piezos attached to the instrument) or voice sent into the resonance body of the instrument. At the end of the performance the question lingers in space: Is there another side to subjectivity?
→back to front← was created in collaboration with the cellist Arnold Haberl (aka noid), performed at the Berio hall of the Konzerthaus Vienna and came full circle (as a critical circuit) with the audience’s feedback sent by email back to us after the performance, if they decided to get involved. Those lines we received were projected at the start of the next performance in the beginning section again with a nude body, breathing, fragments of text passing by in an eternal return (at least conceptually). This early work performed a nude body, but a bare attitude in terms of concept. There were long silences, and holds, that revealed the gap between you and I, between change manifesting over time and social negotiation taking place in space.
 My collaborator for this work, Arnold Haberl, is part of the team of software developers for lloopp. For instructions on how to use the software see the available download: http://ppooll.klingt.org/index.php/Main_Page
 →back to front← was performed in the framework of a series I co-curated with Sylvia Scheidl entitled Superrouter. A temporary autonomous gathering in a two-week long lab at WUK, that was dedicated to experiments with an invited group of independent artist from both experimental music and the field of experimental dance. The participating artists also recorded a CD at Amann Studios, concepts and performances by Peter Brandlmayr, Mariella Greil, Arnold Haberl (aka noid), Jack Hauser, Sabina Holzer, Kerstin Kussmaul, Matthias Meinharter, Werner Möbius, Michael Moser, Jörg Piringer, Frans Poelstra, Sylvia Scheidl, Sonja Schmidlehner.
 Eternal recurrence emerges in a range of eastern philosophies, but also in Friedrich Nietzsche’s work as significant (even weighty) concept.
 For my elaborations of differences between nude, naked, and bare, see 3.1. The Triplet Naked-Nude-Bare: Tones and Shades of my thesis.