Algoforte.

Sound reflections of images of a time that is here, and at the same time a wormhole to someplace else, to a time of naivety and complex innocence. Looking into the intertwining of emotions blurred with the patina and veils of the past, the repressed, the marginalised. Imprints indelibly linked to sound, listening, state of mind, feelings of security and adventure, soft cotton wrappings and at the same time openness to a new wonderful world. The vibrations of the strings in the heavy, huge black frame with their weight and irresistible power to embrace, take over, lift and take away. Memory is intense, yet hidden beneath the surface, energy swirling and gathering to enter a dark space of vague contours and still overgrown paths. A luminous being, partly absorbed in the play, under a boat of sounds, disconnected chords, dissonances, sympathetic tones, believes in the coming embrace and at the same time knows the philosophical transience of the moment, securing it with the fluidity of perspective, the cubist multitude. This specific impression is intimate and personal to such an extent that every letter of the record of it is a violent exposure. Again, a leap into the oily liquid and encounters with the wormhole prints. The return to the surface is a revelation about the persistence of this distant moment and the indelible marking that both dictates the attractions and hints at a direction towards spaces of peace, connectedness, groundedness, pacification.

To think of the piano and its appearance in the present can mean looking at the echoes of the many roles the instrument has played in the perturbations and consolidations of the Western musical tradition and colonialism. Immersing oneself in reflections on both the social and the techno-practical resonance of the piano's presence and the phenomenon of even-tempered tuning through testimonies and interpretations of history implies questions of the environment, in a socio-political sense. Everything seems to be connected in one way or another, and it is impossible to see art as alienated from the forces that surround us, now, before, and later - in the future. The algorithms, the programming code that drives the disclavier live, that controls it, that captures the sound and processes it right there, right then, that monitors the acoustic presence of the vibrations of the strings and the body of the piano by amplification through the membranes of the sound system, is a naked, visible performativity. Instead of fingers on the piano keys—a machine, a computer, a processor. Performer's fingers in the integrated circuit of electronics. A manifestation of the cyborg that is nature. Or from the other side: the subject is machinic.