The crash that dare not speak its name; the xxxxx of atomic culture within radically externalised computation, outside the observed system. Modulation of the message begins, frequency becomes data carrier for an urgent transmission; of software and substance rendered equivalent under an expansive, digital universe as idea. Viral execution of the source code programming results in a series of events intensely orchestrated from discourse to noise, to granular demodulation, the slur into entropy. Hours of screenings, discourse and performance are possibly simulated, running highly speculative software built from multiple components and sources, varying modes of presentation and revelation heralding a computational revolution in art and science.

The code that comprises xxxxx is executed with reflexive data input from Terminalbeach (Erich Berger and Pure), machinic still life and networked cinematographix, microtonal drone god Phill Niblock, and decadent networkers Farmers Manual. A descent into noise is vocalised with supremely concrete performance from Joachim Montessuis. Numerous participants collaborate extensively within a totally unprecedented and severely overheated lineup including Russell Haswell's and Florian Hecker's UPIC diffusion session making use of an innovative sound synthesis system devised by Iannis Xenakis, Takeshi Fumimoto/dieb13's Jekyll and Hyde turntablism, and the analogue spume of Jason Kahn's interior excess.

Sensorialist Adriana Sa and NYC sound artist Toshio Kajiwara entertain entropic elision, proposing a joyful new world interface to sound making. Andy Bolus reverses the terms and trajectory of this sensor-ship with refried Dada-ist and dark Shamanistic intent. To further burn out the mix of all worlds code end, touching the very blind edge of simulation, of crash and post-crash and xxxxx, a crazed trilogy of USA and H bomb-based noise artists Kevin Drumm, Aaron Dilloway and John Wiese sear the stage with savage feedback and neuronic mayhem. crash real.