The interdisciplinary approach that characterizes the most interesting groups of audiovisual music sheds light on how the concept of 'group', especially if you also linked to a live performance dimension, has long since crossed musical skills, projecting in a landscape of fields and complex and multifaceted interests. In this fine collection of artists from Berlin (one of the scenes most effervescent scope) what emerges strongly is that the development of a music video, whether it be a clip, a DVD for future reference, or an instinctive set of VJing is a 'process'. The process is that of an open relationship between the signals that are directed to the speakers and those that pass through the cables of the projector. The two fields following stimulation and different grammars, and for this reason their relationship is encoded in a personal process extends to domains other than video and music altogether. The physics of signal generation, the architecture of their composition, and literature of different alphabets of signs that they use seem to be the land of the meeting of the two sensory domains. In this case, the agglomeration of information to make sense (the direction of movement, plans to prospect, the rhythms data from the different amount of light), but at the same time the ultimate breach of the levees aesthetic finally become tangible.