THE POLITICS 2255 OF INTERFACE ccs transcribed and designed by Julian Gosper Installation designer and electronica artist Markus Popp. A rhizomatic excerpt of a transcript of his lecture on: “Oval process is more like a hybrid document comprised of an audio cd, a piece of productivity software, and a sound installation object that is interactive in the sense that it serves as the front end for the oval music productivity software — a sort of engine in this oval process installation. BRRRER ESE SRR REE & R2RSRES RARE RS HABRSSERRE RHE ES “Before | started oval process, my musical approach [was] focused on the observations of technical aspects of what | would define as a typical productivity work-flow in the field of digital audio productivity. So much more so that an approach dealing with the discussion of musical concepts on the level of content or culture. “Even when | was doing audio cds, and was contributing more to electronic music in the role of a recording artist [which | still do now and also intend to do in the near future], instead of trying to inscribe myself into this more musical heritage or contributing to a historical musical discourse, | rather relied on the irrelevance of even trying to write “ground-breaking musi- cal artifacts." But instead decided to offensibly engage with the standards of one typical work-flow in digital productivity media. ley i WO tes THE POLITICS 32:3 oooo OF INTERFACE cas transcribed and designed by Julian Gosper Installation designer and electronica artist Markus Popp. A thizomatic excerpt of a transcript of his lecture on: “Oval process is more like a hybrid document comprised of an audio cd, a piece of productivity software, and a sound installation object that is interactive in the sense that it serves as the front end for the oval music productivity software ~ a sort of engine in this oval process installation, OVAL. “Before | started oval process, my musical approach [was] focused on the observations of technical aspects of what | would define as a typical productivity work-flow in the field of digital audio productivity. So much more so that an approach dealing with the discussion of musical concepts on the level of content or culture. “Even when | was doing audio cds, and was contributing more to electronic music in the role of a recording artist [which {still do now and also intend to do in the near future], instead of trying to inscribe myself into this more musical heritage or contributing to a historical musical discourse, | rather relied on the irrelevance of even trying to write “ground-breaking musi- cal artifacts.” But instead decided to offensibly engage with the standards of one typical work-flow in digital productivity media.