Interview conducted during Ars Electronica in James Patten and Ben Recht on their work Audiopad .
Edited by Angela Serino.

How does your work, from a technical point of view?
J: The table has an antenna and within each of the objects on the table has a coil and a capacitor to resonate at certain frequencies, a bit 'like a tuning fork. The antenna, or better antennas, within the table, therefore, detect these resonances and measuring the signals can determine where the objects are. The idea is that each of these objects represents a different part of a musical composition. For example: rhythm, melody, bass lines. Also on the table there are two particular objects. One is the speaker phone, at any distance is at a higher volume, and that is how we control the volume. The other object change what others do, so if you change the samples, you also change the effects.

You recorded all the samples?
B: Samples were recorded and collected from different selections.

What is the idea behind the project?
B: The underlying idea is to have something to Audiopad where the movement is much more extreme than the one obtained with a mouse. We could compare the work with a drummer, since we do something more, how to move your arms and legs, stepping back and having a real interaction with the table, in a mode much like the one you have with a concrete tool with which a word processor.

I have read of your previous presentations, where did you play on the floor. Can you tell me something more?
J: What we do is expressed precisely this – not playing on a stage, but on the table placed on the floor – and we try to be as close as possible to the audience. It is interesting for us to see the audience reaction when they both play on the table, both playing the same piece, with a microphone that goes back and forth.

How did you choose the interface, ie the rounded shape of the pieces that are moved on the table?
B: The shape of the pieces is an idea of ​​James, were conceived as objects that could have a pleasing shape, ie as objects in themselves. They are representative, but do not have a real significance. The gestures are far more important and are the key to the whole work.
J: We are looking to establish a more expressive style of execution. As it is physical, there is also a dynamic that engages the audience. The public can see what the performer is doing to turn. The most significant part of Audiopad behind the idea is that people can see you move your limbs and listen to the changes in the music they are playing: the process of interaction is visible and clearer.

Your work can be used for more than two people?
J: I think so. I had also thought of a larger triangular table, with one person on each side, so you can control how objects slide, etc.., But for the moment it is just an idea.

Audiopad seems to belong to that category of objects that can be used to play even by people who do not know the music. There was also this in your intentions?
B: I think it refers more to how our installation work here. We tried to make it a little 'easier and a little' more transparent on this occasion, leaving out a few features that we usually use in performance as more abstract, and therefore although very useful, would have been difficult to understand. Here people can enter the museum and quickly understand what's happening.

Think to continue to work together in the future?
J: Yes, I think so. Ben is really interested in music and sound for a long time. I am interested in the interaction, so together we make a good combination.