In their medial-musical performances, Artificiel, Sawai and Koolwijk & Prins variously move through sensor-reactive electronic spaces. In the case of Sawai and Artificiel, sensor-interfaces continuously gather information that software then processes in order to generate sounds and images. The performers hence move in environments characterised by individual feedback, which responds to their presence and to every change that occurs within the said space. Sawai's sensors detect motion and distance to create a dynamic wall of sound with violent movements.
In Artificiel's "Cubing" performance, a Rubik's Cube that is kept continuously within the range of a camera becomes a refined musical instrument. Color values, distance and motion are measured as a means of controlling musical parameters, a sequencer and a sampler.
Koolwijk and Prins' "Synchronator" project manipulates sophisticated sound and video feedback-loops. Digital and analogue hardware, hand-culled from radio, TV and broadcasting circuits, are wired up as highly sensitive cybernetic systems that react to the slightest signal change. Koolwijk and Prins thus continue with an approach that has preoccupied artists since the earliest days of video art, namely, to use video technology in ways counter to its intended function to yield distorted signals, which usually cannot be processed by standard video equipment and projectors. Their technical innovations have allowed both artists to overcome this barrier. The visual dimension of the "Synchronator" performance hence resembles a violent attack on the illusionary qualities of the video medium – the face of technical prowess rips apart and saturates the surface of the very images it produces.