Melbourne premier of Robin Fox’s immersive, mind-expanding and visceral RGB LASER (now polychromatic; incorporating three lasers, one red, one green and one blue).

Helen Grogan enacts CONCRETE ROOM, a ritualistic tracing of the internal perimeter of the Meat Market using only a body and a microphone.

Christof Migone choreographs MIXER, his multiplicit instructional score for simultaneous layered performances of repetitive gestures, glossolalic translations and somatic rhythms.

(Neuroscientist) Neil McLachlan tests for THE MISSING FUNDAMENTAL in an empirical live experiment with the audience his subject.

I’d M Thfft Able has a RECURRING DREAM MOTIF OF A JUNK SHOP THAT DOES NOT EXIST IN A PART OF TOWN THAT DOES NOT EXIST. We won’t attempt further description.

Robin Fox’s RGB Laser is an ambiguous spectacle. It is an unrivalled sound and light extravaganza addressed directly to the bodies and sensing organs of spectators, accelerating “to end in the unicity of a sensation that some people like to think of as a ‘visual orgasm’” (Virilio).  But the tactics of expansion, dispersion, immersion, multiplicity can also act as a smokescreen for the “giant noise emitter” (Attali). This is rapid domination; addling, silencing, subduing, pacifying. This is direct force applied to command and control centres. These are the tactics of shock and awe. These are (about) technologies of power. This is the escapist euphoria of the laser light show, the soaring, strobing obliteration of disco, flicker film, rave or noise (hedonism, thrills, surrender). These are (about) technologies of pleasure. These are the distractions that legitimate, reinscribe, generate and disguise the disciplinary power of the military-entertainment complex.