- Stephen Marshall (Guerrilla News Network)
"excellent... droning, complex layers"
- Salma Yaqubi (feminaexmachina and WNUR)
extravaganza: the laptops, the criss-crossing wires, the electrical hum. However, even before the aural senses are engaged, it is apparent that this is an interface of a far more subtle and ethereal nature. The predominately black and white real time visuals set the mood, captivating the emotions, looping tiny and very human moments: images of a child playing, a house falling from the sky, a lone girl dancing to an unheard beat. Human experience is at the center here. Luscious hypnotic rhythms build and though the beeps and clicks that are a component of most lap top performances are here, they serve to underscore the concerns with mortal endurance and fragility that create the contemplative mood of the piece. a-very-sensitive-device invites the audience on a journey towards wonderment and beauty, and provide a breathtaking antidote to the current obsession with trash aesthetics and the predominance of the machine."
- Abina Manning (Video Data Bank)
arcs flirted with narrative implications but resisted discreet resolutions
while the members of a-very-sensitive-device responded to one another,
allowing their gestures to guide themes and patterns. through the use
of experimental visual compositions and improvised sets, a-very-sensitive-device
drew audiences into momentary reveries and disturbances.
- Jon Liss (Tiny Hairs)
from dirty beats and
granular synthesis to broken samples and analog modalities, the soundscapes
produced by a-very-sensitive-device slipped around the corners of genre
- Ed Marszewski (Select-Media, Version, lumpen)
functioned together as mutually catalytic inputs in the development of
emotive audio-visual systems. a-very-sensitive-device operated through
references and influences from expanded cinematics, musique concrete,
video installation, microsound, loop aesthetics and generative media.
- Jack Burnham on system aesthetics