Hitmachine is a work in progress. Every other performance lets arise a new form connection. The setting possibilities are varied and permit a variety of playable performance variations. 

Hitmachine runs independently and is able to develop itself. Circle like processes with different time intervals, interlock over and over again anew, while the at the same time filters receive new parameters and form the musical circumstances anew. 12 Brownian algorithmen generate continuously data streams to generate pitches, repeat times, volumes, accentuations, breaks and so on and to steer many actions. A sound structure with almost infinite variations, astonishing idioms and over and over again new sounds and sound combinations is to be heard. Hitmachine creates passages in a network of very quiet sounds to which sharp, striking sound monoliths. The input values of the algorithms are changed by the system itself. By this procedure it becomes a dynamic system. This action allows the creation of form blocks with a variable sound structure and varible temporal expansion.

Hitmachine generates his Visualität by the huge number of the data streams of MAX. These data streams are required in a PROCESSING programming to the generation and control in the screen. Here, like in the audio part, the data streams generate all events in the screen. Besides, the events have in the screen with the audio-events only in a common characteristic so far that they use the same data streams for her generation and control. Otherwise there is no correspondence of tone and picture. The correspondence between picture and tone is abstract. From it followed a presentation which separates the audio part from the visual part timewise. If the audio part is finished, the animation part from hitmachine begins. The animation occurs quietly.

Claudia Robles-Angel is an audiovisual and new media artist born in Bogotá-Colombia, currently living in Cologne-Germany and active worldwide. Her work and research cover different aspects of visual and sonic art, which extend from audiovisual fixed-media compositions to performances interacting with bio-data via the usage of interfaces such as, for example, the EEG (electroencephalogram, measuring brain waves activity). Her work has been presented in festivals and in group and solo exhibitions around the globe, for example, the ZKM Center in Karlsruhe; the SIGGRAPH Asia in Yokohama (2009); the Re-New Festival in Copenhagen (2011); ISEA 2011 Istanbul, at Prohelvetia - Salon Suisse, 55th Venice Biennale (2013), Audioart festival Krakow (2013), at Harvestworks Digital Media Arts Center New York City (2014), at Nabta Art Center Cairo (2015), Museum for Contemporary Art Bogotá (2008/2015), and more recently at MADATAC 07 Madrid.

Peter Wießenthaner, *1951 composer, audiovisual live-electronic performances, Germany, Frankfurt am Main. Importantly for his development was the contact with Luigi Nono in the Experimentalstudion of the SWF in Freiburg. Later he developed a collection of hole and Glissando flutes for a play free from notation which adjusts itself about inclusion and exclusion criteria. Since 1982 he plays with microphone, loudspeaker and live tape recorder. Nearly 20 years he has had the project „Zusammenspiel“ with Peter Fjodoroff, besides a huge number of multimedia performances in different European towns, the USA and South-America. His field of work is trans-media. Wießenthaner curated for nearly 25 years the events of SKOP, an interdisciplinary event organisation. Present performances from Hitmachine include: Audio Art Festival in Cracow in 2013 and Avantgarde festival in Schiphorst in 2014, college of music Munich 2014, Signalraum Munich 2014, Tresorraum Tübingen 2014, Festival SKOP and PHONOPHON in Frankfurt 2015, Festival Nomades in Bogotá in 2015, Festival Experimental Intermedia in New York 2016, „klingt gut“ Klangsymposium in Hamburg 2016.