The authors are primarily interested in the structure of the performance and in the theoretical explorations of hybrid connections between electronic circuits and spectral data models, and he does not emphasise merely the aesthetics of sound or image, albeit these two elements are not insignificant. We can recognise their typically reduced visual aesthetics, whereas in the audio-field, they make use of a broad spectrum of sound elements, from expanded sounds and glitches to more or less intense noises and sounds, which are bound to physical space. Each work is determined by a precise sound score, which is how the authors draw a clear line between compositions for specific works. As regards the construction of sound instruments, they are interested in the inventor’s approach, which makes possible unpredictable alchemistic fusions of various types of matter and it enables the networking of mechanical and electronic devices and digital applications. For each project, Batista and Čadež envisage open form, which, in subsequent reprises, allows modification, similar to open-coded programmes, which are closed in themselves, yet, they allow variations, upgrading and changes of user interfaces.

In the performance, artists are emphasising the role of visual structures, which are determined by various temporal coefficients, intertwined into peculiar rhizomatic structures. They are projecting the image on two side-screens and on the central video mapping, which is showing the fragmented image on several smaller video surfaces. The artist is interested in the interaction of parallel sound modules, which trigger unpredictable visual effects. The spectator cannot logically reduce the relations between the production of sound and its visualisation, because breakdowns and glitches constantly appear in the linear flow of sound and image. For the act of viewing, a certain intellectual effort is expected, and this effort is constantly transposed from the rational to the sensory level and vice versa by the breakdowns and glitches.