The composition Tastes like… is based on a pre-empirical approach which, unlike an experimental one, is not characterised by an accidental quest for subjective aesthetic values. What transpires is a material truth, that is, a reality of technological deficits. Deliberately provoked, common aesthetical disruptions and system malfunctions, are shifted from a negligible fringe to the center of attention. The compositional interventions can be described as wilful guidance of electronic motion and are reduced to the manipulation of subatomic particles which (as suggested by the a priori definition of the term electronic art represent objects at the fist and basic instance of the expressional spectrum.
By expanding the sensual impressions generated with the transformation: [: visible > audible sensual (physical pain) and by revaluing their priorities in the process of composition or improvisation, the idea of deconstruction of a conventional local as well as global rhythm of tension and resolution is put to the fore. The virtual linearity of a classical dramaturgical arch is thus put in submission to sensual (physical) impressions, which limits the musician's free will in the definition of the overall sound image and the positioning of individual sound events to a temporal axis according to the aesthetics of aural impressions.
The piece is realised with an instrument which involves an audio mixer, a cathode-ray TV screen and the musician's body. The uncanny connection implements an analogue oscillator whose main parameter is a variable potential barrier that depends on the distance between the musician and the radiating TV screen. All the audible sound – in its primary form of alternating electrical current – at the same time transverses the musician's body, which provides feedback in a physical form and ensures a priority reference in the subsequent selection of the material of expression. The feedback system is thus enriched with a component of macro memory, which ensures complex forms of musical composition already in the pre-composition (exposition) phase.