Geometry and written language are the intermediary media used by the knowledgeable. In contrast, the immediacy of images constitutes a language of few prerequisites.
The musical video works made by the duo reMi Renate Oblak, visuals, and Michael Pinter, sound play the paradoxical role of creating pop for the knowledgeable. They are not alone; on the contrary, developing and satisfying these niches has gradually become an essential part of the music and video scene over the past few years. The unique aspect is the radical way in which reMi combines the material nature, the intellectually constructive starting position with the directness of its effect and the generation of icon-like symbolic power.
The constant surrender to interrupted line interlacings (caused by failed calculations) and the remaining reality codes comprising columns of figures or words apparently found coincidentally give this symbiosis a symbolic character. The raging rhythm of the geometry of Renate Oblaks video images and the furious fragments of sound in Michael Pinters music refuse to reproduce (or distort) the visible world; confronting us instead with their own intense, artificial and seemingly technoid realm.
In a technical sense, the visuals and music originate in images of machinery brought to the brink of failure in which irregularities and errors occurring during production and the conversion of this raw material into a final product. This provides a foundation for the decisive interplay of knowledge and immediacy, this simultaneity of transmission and a prohibition on the use of recognizable images. (Christian Scheib)