∆V 
The smell of electric potential difference. Signal tensions oscillating between 9000 or 3 volts as well as thousands of Hertz…. In order to see, to hear the physical aspects of electricity. Spark ionization, electric discharge, pulses and voltage breakdown. Oscillating tension with lights , sounds and electrified atmosphere. The heart of audio-visual synchronization // SIGNAL, Flow of electricity.

Kasia Justka is a Polish multimedia artist based in Berlin. Her work capitalizes on her obsessions with the medium of electricity and weird organic sounds. Her art can be seen as invocations to the vast power inherent within electronic systems and networks. With this conceptual frame in mind Kasia fashions a dynamic order and form from primitive entropy. Using light, sound images and objects as her tools, her intuitive and analogue based performances have led to collaborations with theaters, galleries, fashion designers, artists and festivals, including Electrovision London, Transvisualia, Free Form Festival, CynetArt_08, Unsound Festival, Piksel in Norway, Warsaw Electronic Festival, gallery Zacheta, WRO Bienale, TR Warszawa, Volksbuhne and others. 

Paths End is a fragmented and fictitious cartography of trails leading to nowhere. It is a textural recomposition of the various cues that define or erase a given route. It is an audiovisual exploration of false starts, dead ends, and incompleteness.

It indirectly documents a personal experience of intense immersion, disorientation and fear in the wilderness. It is a process of going past recognizable impacts of civilization on nature until one is truly in the middle of nowhere.

The piece uses traditional phonography and photography as source materials but extends the practices beyond basic documentation in favor of more experimental and abstract media manipulations. The piece can be seen as an imaginary landscape that is just as much informed from reality as it is from the subjective experiences of the search for paths end.

Created at the Binaural Nodar residency program in Portugal, October 2014.

Pierce Warnecke’s work stems from interest in the efects of time on matter: modifcation, deterioration and disappearance. Whether the focus is on digital forms or rough materials, large scales of time or microscopic details, the goal of my work is to re-adapt existing sound, visual or physical objects and materials into parallel contexts where their signifed meanings, symbols and cultural connections have become residual ghosts. I like to imagine false paradigms, inexistent branches of research and fctional sciences in order to create unrealistic questionings as a basis for a new work. Form emerges through a process of collecting, fltering and combining phenomena (objects, data, sounds, images) that is linked to the conjecture. There are explorations and structures in this 'research' but no conclusions, except the ones you make.

Pierce Warnecke is a sound and video artist from California, currently residing in Berlin after living in France for 10 years. He graduated from Berklee College of Music in 2007 and in 2013 completed his Meisterschüler (Masters) studies at Universität der Kunst Berlin (Media Art / Generative Art) under Dr. Alberto de Campo. Recent projects include collaborations with Frank Bretschneider (visuals for his latest work "SINN+FORM" on raster noton) and Matthew Biederman (sound for "Perspection"). In addition to artistic works, he co-curates Emitter Micro festival and label with Kris Limbach in Berlin. 

He has presented his works at KW Institut (Berlin), LEAP (Berlin), FEED (Berlin), Harvestworks (NY), Berklee (Boston), CalArts (LA) as well as festivals like CTM, Elektra, Zero1 Biennale, Transmediale, Bozart/BEAF (Brussels), Semibreve Festival (PT), MadeiraDig (PT), Mirage Festival, LAB30 (DE), Boston Cyberarts, Visionsonic (FR), Vidéoformes (FR), SXSW Interactive (US) and more.