A techno-arts studio performance event is the focus of this chapter. Lervig factually reports the behind-the-scenes technological tool manipulations used to experimentally create an audiovisual performance riddle (allegedly inspired by Schon’s “artistic process” paradigms).

In this event, Lervig applied abstract programmable tools to transform media content input (provided by a singer). From a numerical analysis perspective, successful intelligent signal processing typically relies on a computationally rich set of control factors. Thus, Lervig’s use of a sparse stream of nominally insignificant measurements (music, a handful of motion sensors, and a few video signals) as control factors should not, and did not, produce results of interest to computer researchers.

Lervig arbitrarily selects and perturbs his technological calibration settings, while conveying no clear understanding of his intentions, contemplations, and results. His media content outputs are simply AI-lab-typical psychotropic video tessellations. Over the last 20 years, every graduate student in a decent image-processing laboratory has spent hours playing with the equipment, and collected weird, funny, and unusual results. The same students end their artistic adventure with many personal questions about what to do if a chance to play with the equipment arises again. Well, the equipment seems to have been installed in Lervig’s laboratory, and the results, as profound as he seems to find them, do little to improve the reader’s perspective.

The author’s conclusions all to closely resemble those of students gone by. His event seems neither structured to conform to any standard scientific method, nor demonstrative of distinctive multimedia art.