Today's my performance had a simple structure with the sounds picked up by two contact microphones which were modulated with ring modulators and distortion effectors. Such as scraping, tapping, scratching, hitting, dropping, swinging, pulling and etc..... . The simpler the instruments that I use, the more I have to be conscious about my bodiness.
-Hiroshi Hasegawa

More subtle hand/finger/thumb/wrist/knuckle movements than hands cut the air / flip / fold / grip / hold / knead / offer / pass / pat / place / press / pull / pump / push / put / raise / reach / rub / rub / rub / shake / slam / slap / slide / spread / spread / squeeze / stick / stick / stroke / take hold / tap / throw / thrust / tuck / turn / turn / turn / twine / twine / twist / twist / waggle / wave / wring.
More subtle fields of airwaves than micro radio. Instead of communication, data transfer / reception and info-circulation. Resonance rather than communication. Toward an another side of technology. - Tetsuo Kogawa

The theme of this month's programme is the manipulation of spoken or sung words. The first 3 tracks I play ed are all by "Dehabit" who are based Tampere, Finland. The first track, "Rakbeat ",was generated from folk songs that were recorded on one day at a market fair during the ANTI arts festival. The contributions were then digitally shredded and re-worked on a computer to create t his piece.
The following 2 tracks - "Hidden" and "Feline" were generated in a similar manner - but this time using fragments from pop songs containing the word "love". MP3 files of these tracks are available from the "one love is all you need" link on www.dehabit.info.
The final track is a permutation poem that was recorded in 1960 by Brion Gysin. "Pistol Poem" follows the strict methodology of re-organising text or sound fragments repeatedly - so as to exhaust all of the possible re-arrangements of the source data, which sometimes uncovers unexpected new meanings or str uctures from the original material.
- Keith de Mendonca

This time a PC joined to AKAI S20 and PALM in my performance. It was like a "cakewalk" that I don't really understand. I was interested in how to control it with a sort of noises and unexpected melodies by the real-time effec ts and control opptions.
- Kenji Maehara

Simple bells and key-chain sounds off the top of my head.
- Hiroyoshi Osanai