_Developed as part of the Digitally compatible body-based performance seminar, under the direction of Marie-Claude Poulin. In collaboration with Mahdi Bakhshi, Meta Kuzmany and Joannis Murböck._

This is a performative installation that revolves around a surplus of data that urgently needs to be digested: an experiment on the “long time” of reading as an antidote to the rewriting of history; a performance apparatus that hijacks symbols and generates all kinds of dreams. Will we manage to read each other?

With the use of video recordings shown through monitors during the performance, I developed motifs, sequences and parameters that resulted in a live performance that reflects my relationship to the symbol of the cross in a sarcastic and minimalist way, opening up a deeper understanding and new insights into the divided society through symbols, signs and beliefs.

In addition to creating a performance that addresses the relationship between myself and the object of the cross, I developed and directed the sound composition for and during the performance.

_All photos copyrighted by Lea Sonderegger._

BOOK-ROOM: information re-embodied, or the snake biting its own tail

**This installation seeks a new form of faith.** 

  
Using sound recordings and icons from eight different Orthodox churches from Serbia, Bosnia and Vienna, this installation not only dismantles the architectural forms of these buildings, but also offers the visitor a deeper understanding of their meaning today. Using modern ambisonic technology and exciters (body shakers) on the backs of the wooden icons, the light transformed into sound moves in space and around the viewer, creating a direct relationship between man, the sacred image, time and space. 

  
The starting point for this ongoing analysis of Orthodox churches was two solar panels soldered to an AUX cable and the exploration and decomposition of these sacred buildings. Light is an important medium in religion and in the construction of its architecture. Transforming the light frequencies of the churches into sound offers a new understanding and experience of these buildings.

UNBELIEVABLE! Orthodox icons break silence!

_Made in a workshop by Patrícia J. Reis_

The method used to make the CEC (Clay Electronic Cross) was developed by Patricia J. Reis and Stefanie Wuschitz. Their goal is to question the current PCB economies in an artistic, creative, positive and responsible way by developing rules or standards:

**Feminist hardware is developed:**

Without mining in harmful ways

Environmentally friendly

Under fair working conditions

Manufactured from widespread available materials

Without generating e-waste

With love and care

The CEC is not made of plastic but of clay collected in the forest in Austria. This was carefully prepared and modeled in the form of a 3D-printed cross with a printed circuit and later fired with wood in nature (Vienna's Danube Island). For our circuit tracks, we use silver from urban mining, and all components are reused from old electronic devices. The PCB is built in a slow, local, decentralized and transparent way that promotes peaceful coexistence instead of capitalist exploitation.

Based on the defined feminist hardware standards, I chose the shape of the cross to underline the important connection between humans, nature, and man-made symbols. Adding an analog sensor on its back and a piezo speaker on the right port turns the cross into an instrument and not only symbolizes the relationship one has with this symbol but also questions it. By playing the three CECs, one takes back control of this powerful symbol and becomes aware of the omnipresent power of all signs. Creating electronic sounds with one's own hands on this natural material shows the relationship between humans and symbols of supernatural or scientific belief.

_First photo, copyrighted by Jorit Aust._

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David Obradović