The explanation of how these computer animations were devised is considerably longer than this entire review‚ but‚ put crudely‚ the visuals are largely manifestations of the physical properties of the sounds: on Timbre and Planet the medium was a sonogram (spectral analysis) so we ‘see the music’‚ not illustrations of it. The original sounds may have been entirely synthesised or recorded ‘from life’ and then man­ ipulated but‚ as Rudi indicates‚ this is unimportant. Concrete Net‚ where the source sounds are traffic noise‚ falling aluminium scrap and a reading from Concrete Island‚ JG Ballard’s disturbing Robinson Crusoe update‚ is rather more literal‚ almost illustrative at times: metallic sounds are matched by metallic structures floating and wheeling through space‚ though some objects appear more organic‚ not to mention ambiguous. One could be the nucleus of a cell‚ the core of the sun – or maybe an apricot cut in half. This confusion of perspective – are we looking at fragments of DNA or entire galaxies? – is a deliberate tactic on Rudi’s part. Precedents are not hard to find‚ even if the techniques were very different: the stargate trip in 2001:ASpace Odyssey and some of Brian Eno’s hypnotic video installations are among the most obvious. Similarly‚ the electronic and electro­acoustic music has plenty of forebears‚ too‚ right back to Pierre Schaeffer and his circle. It is not dynamic‚ in any sense: we are simply invited to travel over mysterious landscapes‚ to gaze in wonder. I enjoyed the journey‚ and will be going again.