It's not about the medium - although imagineering is important. It's about the culture of dedication in the face of adversity. A stereo PA was once too much. Live video synthesis was once too much. We work where rules are being made, not where the battles are already fought.
And as we asked back in 1985 : Please Don't Live In The Past.
We maintain reproductions of our earlier work. But this section is about the hard paths, the occasional failures, the times where we left the comfort zone. Here's just a few examples.
Like a music synthesiser, but producing signals visible on analogue video screens. The 'wobbling rectangles' are now cool again.
A band-run discussion and support area that ran from the Fidonet BBS era, through the Internet mailing list era, finally declining and ending while a KDX system in 2008.
A demo of a PDF wrapper for downloadable audio. At a time when iTunes/iPods dominated. Steve Jobs replied 'only the music matters' but added PDF support in the next iTunes version.
As well as introducing the Barbara Island project, every one of these discs included a serial number as a spectral soundprint hidden in the music.
A collaboration with Paul Greedy - this mechanical light machine could be played with a touch screen using spiritual colours.
An album based around tiny snippits of glam rock (both time and frequency), and supplied in a case with a wire lab rat. All the imagery was built out of wire by Tara Davie.
So what's wrong with just mastering one technique? Isn't it enough to be a great oil painter? 'New' does not equal 'worthy' - in fact 'new media' was generally a dead end because it was just technical learning curves.
It's about risk. The chance of going wrong, and encountering the unexpected. The word experimental can only apply when it is possible for the experiment to fail, and mastery involves a reduction of risk, and the unexpected. Production becomes predictable, and soon enough algorithmic
When everyone knows what to do, they'll only do what they know.