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.

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“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.

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THE POLITICS 32:3

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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.