AudioVisions appropriates that most exhausted of forms, the music video, demolishing its crass conceptualizations. We get a rhythmic replacement, spare in visual composition but subtly rich, a melding of sound to palette and pulse. This could be maximalism hiding beneath the surface of minimalism as we see in reMI's Teufel Eintritt (2000, 9 mins), where text reads like a ghost in the machine; or in Jürgen Moritz's Santora (1998, 4 mins), a slowly building triad of geometric patterns. Other works rely on intricate equations between the unfolding images and sound generation, such as Michaela Schwentner's Transistor (2000, 6 mins), a structural model built around a gridwork of music; or maia./notdef's Version One (2000, 3:25 mins), in which noise vectors mutate. Only a few of these works draw on figurative sources-Tinhoko's Relifted (2000, 7 mins), in which photographs of Japan are irretrievably manipulated; or Paul Divjak's Le Matin (2000, 4 mins), a study of intense channel surfing. Most rely instead on the interference patterns endemic to the video medium. Of course, no Austrian program would be complete without alpine cliché, which is exactly what Siegfried Fruhauf's Höhenrausch (1999, 4 mins) thrives on as the finale of this ear–opening event.
Also inzcluded: Unterwerk by Dariusz Krzeczek (2000, 2 mins); Instrument by Jürgen Moritz (1997, 5 mins); Overfart by Ben Pointeker (1999, 6 mins); Traxdata by Jürgen Moritz (1998, 4 mins); Rewind by (n:ja) (2000, 5 mins); Aus by Skot (1998, 4 mins).