FLÜUX:/TERMINAL IS A BIPOLAR PERFORMANCE THAT SKOLTZ_KOLGEN HAVE NAMED DIPTYQUE RÉTINAL. AS IN ALL OF THEIR WORK, HERE THEIR RESEARCH HAS ESTABLISHED A POINT OF CONTACT BETWEEN SOUND AND IMAGE. BUT FLÜUX:/TERMINAL PUSHES THE DIALOGUE BETWEEN THESE TWO ELEMENTS ONE STEP FURTHER: THEIR PERFORMANCE CREATES A DRAMATIC TRAJECTORY, FUELLED BY THE PANORAMIC TENSIONS (LEFT/RIGHT) BETWEEN HEARING AND SEEING.
FLÜUX:/TERMINAL PROJECTS IMAGES ON TWO SCREENS, IN A PARALLEL VISUAL BODY OF LUMINOUS PARTICLES_ PHOTOGRAPHED OR FILMED IMAGES AND WIREFRAME DISPLAYS. AS STEREOPHONIC VISUAL REPRESENTATIONS, THE TWO SCREENS ARE THE ALTER EGOS OF THE AUDIO, WHICH IS ALSO DIVIDED IN TWO. THE SOUND SOURCES (LEFT/RIGHT) ARE DESYNCHRONIZED AND PROPELLED INTO SEPARATE CHANNELS: THE LEFT-HAND CHANNEL EXCITES THE LEFT-HAND IMAGE; THE RIGHT-HAND CHANNEL EXCITES THE RIGHT-HAND IMAGE. THE IMAGE IS DISTORTED, BEARING THE MARKS THAT THE SOUND IMPRINTS UPON IT, AND BECOMES THE FOSSIL OF THE SOUND.
A BIPOLAR EXPERIENCE IS THEREFORE BUILT BY CATALYZING THE LINES OF TENSION BETWEEN TWO INDEPENDENT BUT RELATED AUDIO AND VISUAL WORLDS. THEIR DISSOCIATION IN ONE INSTANCE AND THEIR SYNCHRONY OR SYMMETRY IN ANOTHER ESTABLISH SPACE--TIMES THAT FAIRLY FLOAT IN WEIGHTLESSNESS. THESE SUSPENDED MOMENTS ARE SUCCEEDED BY FRESH CHARGES OF ENERGY THAT ARE MASSIVE AND INTENSE. A NEW GENERATIONOF MEANING ESCAPES: ATTRACTION AND REPULSION, INTERDEPENDENCE AT TIMES, FOLLOWED BY STRUGGLE AND CONFLICT AT OTHERS.
