'The complex technical structure of the piece remains almost perfectly hidden from the eyes of the viewer - so much so that a visitor with only a feeble experimental sense might not even know of the possibility of interference and interaction. The exhibition space contains only a slide projector and mirrored sphere familiar from dancehalls and discos; everything else - the more serious technical equipment - remains hidden in a pedestal.
In fact, however, the details of the projected image reflecting off the disco-ball into the entire space are surveyed by a video camera whose digitized images are analyzed by a computer, and depending on the changes, it lets out certain sounds and noises. The visitor is able to manipulate the environment through his own shadow and by handling the mirrored ball and hence the projected image-details on the wall. Due to the fact, however, that these sounds and noises are very faint, it is a rather time-consuming activity for the viewer to determine how - or if - this piece is interactive at all. The image of the golden calf, the golden sphere and the low sounds together create a sacred atmosphere in which it seems obvious that any kind of interference would require true courage and even more attention for any possibility of interactivity, in the possession of which the ability to discover the meaning of the piece seems to be the ultimate and most simple endeavor.'
Zoltán Szegedy-Maszák