Jazmina Figueroa: The concept of a feedback loop is central to your approach. How do you envision this process aiding in producing, intertwining, and refining sound and text material?
Kenneth: This bouncing back and forth of the feedback loop is sort of the only parameter that we’ve set for ourselves. It’s not a content-driven parameter. It gives a very nice rounding because this parameter doesn’t block stuff from entering, but maybe it doesn’t leave stuff to escape.
Moritz: It’s always interesting what you end up with. The constant back-and-forth might be the start of something completely different. It’s like this with every task. It is like doing research. At some point, it gets very defined and you get very good at it. It’s the same with my artistic practice, how I compose, or how I perform music. It might happen that the whole structure crumbles at some point because you took a wrong turn or whatever, but it’s a positive thing.
Denise: There is this beautiful coexistence of both your heterogeneous individual practices, working with text and sound. The focus is on the process. This way of performing, acting, and thinking with each other goes beyond singular or binary perspectives. Also, the website incorporates this significant improvisational and performative element. Have you discussed how to bring the performative dimension to the webspace?
Moritz: The original idea of the score was not as performative or interactive as it ended up being. The focus on having a website that also functions as a performative element changed drastically after the positive reaction during our live Zoom performance at the first internal crit meeting with the other web residents.
Kenneth: I agree. Everyone seemed enamored by its performative potential. For example, kirby pointed us to Tiger Dingsun’s Reading Machines, an amazing publishing platform that really shaped how we imagined our website. At this point, we hadn’t coded anything yet. Obviously, there are many things you could do on a performative level. Create an AR environment, a gamescape, but I envisioned the website to be flat. Like the way you would read a poem in a book. When it comes to the activation, we talked about the way you read poems and their evocativeness or how words bring out certain associations, which in turn informed the decision of having textual elements would either trigger a particular soundtrack, grow bigger, extend, and/or potentially modulate sound. Conceptually, I am indebted to the collaboration between graphic designer Will Holder who founded F.R.DAVID and writer Mason Leaver-Yap , which explored the relationship between typography and the voice.
»I think the functionality of our score becomes like an instrument where there’s no start or end, there’s no linearity. The text becomes the four strings of a violin, or the keys of a piano, and you’re free to just play whatever.«