Spengler: There’s something very important I forgot to tell you.
Spengler: Don’t cross the streams.
Spengler: It would be bad.
Venkman: I’m fuzzy on the whole good/bad thing. What do you mean, “bad”?
Spengler: Try to imagine all life as you know it stopping instantaneously and every molecule in your body exploding at the speed of light.
Stantz: Total protonic reversal.
Venkman: Right. That’s bad. Okay. All right. Important safety tip. Thanks, Egon.
Not a bad description of what I want my work to accomplish — I want to cross the streams of sensory data. To take, in the work below — emphasis, 2014 — the rich stream of visual data represented by a recognizable “word” and mix it with variable sound data which problematizes the visual stream (each button corresponding to the pronunciation of the word with an emphasis on a different syllable) and then throw one more semantic stream in there — a spatialization of semantic content in the placement of the buttons. It would have also made sense to call the work “Presence” or “Being in Time (and Language)”. You have to hear it to understand how the work functions, but this at least points in the right direction.