The pioneers and avant-garde electronic musicians have traced a furrow of theories and practices most of the time away from the lights of museums and large institutions. But just to be learned from their approach humble and tenacious and creative up to ignore the natural limits of the electronic machines rethinking functions and developments, through tricks, hacking before its time and recontextualizations able to make it explode its potential. Light years away from the pretentiousness of some contemporary artists, poor in ideas, but rich in talent for public relations, these characters are able to revive the light of decades gone by the excitement and the thrill of discovery, the excitement and the sacred fire of experimentation, respect and dedication to the materials. Important, therefore, is this collection of material on Erkki Kurenniemi, from the early sixties it was self-built electronic musical instruments, using them to compose, among other things, the soundtracks of his experimental films. Brilliant and visionary this artist has been able to develop such works as DIMI-O, who in 1971 used a camera designed to take advantage of the movements of a dancer as part of sequencing, or as the DIMI-A of 1969, a musical instrument that first used the memory instead of precise addresses for retrieving music data. The performance reconstructed at the museum Kiasma in Helsinki, together with the moving concert realized together with Pan Sonic, in addition to valuable original materials constitute a chronological reconstruction and contextual. And this is one of the best ways to restore dignity to unrecognized experimenters who have really made history by trying the technology on their skin the dark side of the machine, never get the limelight.