In William Gibson's legendary cyberpunk novel trilogy Idoru (Bridge, consisting of the volumes Virtual Light, 1994; Idoru, 1996; All Tomorrow's Parties, 1999), we see collisions of powerful media moguls with hackers and bridge dwellers, collisions of physically present things and bodies with code-generated figures, or the collision of the continuous time of a clock's second hand with the timeless black hole of digital space. A kaleidoscope of viruses, drugs, weapons, data havens, slick PR managers, television believers, data krakens, avatars and much more. But the question of autonomy and the spaces in between, the cracks, remains an essential one.

So let's enter the spaces of possibility, the interstitial, as William Gibson calls them, polyphonies of voices where each voice is given a space, and complex, unpredictable structures emerge and decay in fragmentary networks.

DIY electronics or the Max Brand synthesizer built in collaboration with Bob Moog symbolise resistance and self-empowerment. Keyboards hint at their centuries-old history as point of contact for machines.

Fugen – fragmentarisch vernetzt in 13 Bildern can be experienced as a music theater installation as part of the Wien Modern Festival on November 6, 10 and 11, 2021.

A netzzeit production in cooperation with Wien Modern and Ö1 Kunstradio.

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