We were searching for names which has kind of a connection to rhizome and Venus flytrap is a plant that is also a rhizome. And yeah, I felt that it's very feminine creature which eats the bugs. And it was a cool word game play, like the bug debugging things. So the event was debugging and the question and answer that we put on the poster was what if the Venus flytrap consumes and it means like to debug things or to eat the bugs and the horizon transforms I really like this fluid diverse atmosphere also in the collective and in the process of choosing artists and like the invitation was kind of for me very gender neutral, very very, I wouldn't use the flint word because I'm really against gendering creatures, people, and so yes Venus flytrap sounds feminine but it is was not really the reason we chose. Stop. I'm Hedi and just a Hedi. My artist name is I-ID, which is always very difficult to read. Immunocid. A lot of people read it like that, but my idea was choosing this name was, I am what remains after you remove my identity that is given to me. I'm studying and living in Linz and I'm part of the Kuyocha artist collective and trying to survive Masha and yeah Masha Illich or Masha Illich and I don't know exactly myself. I studied sculpture and now I'm studying sound art and I organized this cultural initiative noise meetup where we focus on DIY sound and yeah I also try to survive I think this this mini festival was joining kind of all like ways of doing Das Mini-Festival hat sich mit den verschiedenen Arbeiten des Soundobjekts, die in Linz gerade vorhanden sind, verbunden. Es besteht aus mehreren Einheiten, aus Platten, Lichtern, Schallquellen, Lichtquellen und der Raum selbst spielt auch eine Rolle. Die Akustik beeinflusst das Ganze nochmal, das heißt, es ist ein komplexes System, ein Feedback-System, wenn man so will, das man alleine schon durch seine Anwesenheit beeinflusst, weil man irgendwie die Vibrationen im Raum dämpft vielleicht oder verändert oder wenn man irgendwie spricht, mischt sich das rein. Und man kann verschiedene Systeme, verschiedene Loops stören. This piece also kind of made it in a way that we can notice these connections and relationships between physical process and physical objects we usually not paying attention to, but only through the moment of interruption of these connections, which is actually usually how it actually also happens in real life. So when you notice something that is important only when it's already broken. Humans have the nice ability to kind of filter out some noises that you hear all the time. Of course, if it's like super loud and you're living near a street, that's not that possible. But still, like this background humming of a highway that's a few kilometers away. As a human, you kind of filter it out and it doesn't affect you that much or you think it doesn't affect you that much. Actually, it's always a stress factor that we have to live in, or that we have to live with. But if you imagine you're an animal that has way more sensitive ears, they are living kind of in a constant drone of artificial noises and have to cope with that. And that's a huge amount of stress. Like imagine you're upstairs in the birdify room and you're hearing the drowning of the highways the drowning of like construction sites etc in the same volume as you hear the other sound installation there basically your whole life since you're hatched as a small bird and you're living with that all the time and it's a bit depressing actually that some species, most species that are living for generations in city environments never really experience silence. Chris showed two installations and one performance and his performance was with a sparklifier and a prepared guitar which was tuned somehow in perfect quince and nothing else and the sparklifier was just visualizing the sound. It was a bit old school, but kind of spooky and fancy. And I think also a nice contrast to the rest of the participants, which are like a bit different generation, but it was nice because kind of putting together different things. The good thing about Schießhalle is that it has different small spaces, rooms. And we really found it suited to some of the installations, like the ones we made with this really very organically come together installation when we maybe I can tell the story that I was talking about this rhizome simulation kind of I wish to be able to make and I was not having enough knowledge of electric basically like the heart of this idea and so Marsha held and brought the beautiful Copernica was the synthesizer and so the idea was like to be able to show that the horizon never dies. The idea comes from Heidi and Luzi. Luzi is not here, but they kind of asked me, oh, we have this idea, do you know how to do it technically? And I said, I can try. So the idea is to have an object, a synthesizer, where you can take parts off and it still works and still makes sounds. So I took this Copernica of Costanza Pina. It's not developed by me, but I use it in my objects. object and it has 12 oscillators and you can switch them on and off and we just inserted this oscillator into an object. objects. We also had live coding from Gurkha and Sule. And it is also very interesting to watch them because their code and their live set was also interrupted with some glitches and some lagging in the system. It's always very interesting to see like these improvised accidents or troubles or bugs also makes the scene and they were literally laughing at the code not functioning at some point and it was cool. Thank you. Then we had Omid, Omzul and Andrea Corradi, my other colleague from Pioche. And they had also live audio, live performance, which was also very trippy I would say I mean for me there was a part in the performance they were using text on the LED lights which was also in a lot of languages and it caught me when when Omzul brought a Farsi part of a poem also in his performance. I also personally like to work with text and also use my own voice. So it was having something for me to reference to my country. And I was glad to have him participating. What is your major mouth? Watch it now! I'm not here to show you enough attention. But you don't know. Oh, yes! You don't know. Oh, yes! Oh, yes! Oh, yes! In my bedroom where my wife sleeps? I want the truth, you can't handle the truth. Mr. Hockey, I've made a decision. I've got to do this. I'm sending a man down. And I'm gonna fuck, fuck, fuck, fuckers. I'm gonna fuck the fuck out of you. I'm gonna fuck the fuck out of you. I'm gonna fuck the fuck out! I'm gonna fuck this shit up! I'm gonna fuck this shit up! No! Women! I'm gonna fuck this shit up! I'm gonna fuck this shit up! I'm gonna fuck this shit up! I'm gonna fuck this shit up! I'm gonna fuck this shit up! I'm gonna fuck this shit up! I'm gonna fuck this shit up! And this third day... And this third day... Yeah day we had Kevin with an audiovisual performance, spacey and with some breaks. So it was really a composition. composition and I kind of enjoy this audio-visual combination because of the two senses coming together. The spirals that exist coming off of the Venus flytrap, there is still this sort of fractalian structure that I'm playing with in spirals that grow spirals and things like this for the vortices. So that's sort of the overlap and it's mostly coincidental but I believe that a lot of the things that work in like the rhizomaniacs purview kind of come from these occurrences over millions of years of evolution. And then we had Gundiga playing lute and prepared lute and tape loops. And it was a crazy, feedbacking very crazy, I would say. And somehow it came out that the feedback was in the recordings already. I cannot tell anything from the second day because I was not there. I was in the jam session. The jam session idea was to have something similar to what we were doing the previous months. It is never planned, so we normally provide two big mixers in the middle of the room and enough cables and good sound system gladly. And we try to kind of synchronize with each other and every time things magically happens which is like the nature of jamming and this time also worked very well people came and sing and other other people who were never part of it also joined it was really a nice a nice experience again. If you cut it somewhere, The secret ingredient. If you cut it somewhere, the individual pieces just keep growing and it spreads by that mechanism. kind of have different independently growing scenes or so that work together that are working as a collective and I think we were looking for a fancy name and this just came across and we thought okay it's wild. Wild enough.