She He 2025 Read "RKM Interviews Dan Senn"	They We (see sample video) Use your head phones. 4K Video and Stereo Sound by Dan Senn Duration 6:38  Click above banner to enlarge.
She He They We (2025) was made from three standalone artifacts—a text, video and an electronic work, the last two improvisations. The video was shot last, on August 18th, 2025, outside Karvárna Liberál in Holešovice, Prague but edited first for this work. The electronics were improvised on a Korg MS-20 clone synthesizer in 2023 in Prague. The text was written, the first three parts, in February 25, 2025 at Studio FMErá, in Watertown, Wisconsin. The composite work, She He They We, was assembled at Gasworks Studio, Prague, in late August 2025 when a 4th section was added. A standalone artifact is a work that is conceived to be presented without accompaniment. A solo piano work by Dvořák is an example but it is not unusual for such a work to be presented with dance or even film, the piano live or prerecorded, the original work strong enough to stand alone. She He They We (2025) is an uncomfortable message work, not unlike "Peeping Tom" from 1988, with text embedded amidst two standalone, improvised mediums. The video improvisation is of a “found object,” the frontage of an abandoned building. The electronic improvisation is of a “found patch” on a Korg MS-2O. Other texts could’ve been used—this text popped out in February 2025 and had a repetitiveness that enabled additional concentration on the other mediums, all three knit carefully together.	The "meaningfulness" the text challenges the  harmlessness of “white lying.” The "knitting" of standalone mediums is likewise challenged in this work by the assumed incoherency of independent mediums functioing cooperatively. The work is thus socially confronting, paradoxical and structurally adept. a The assembly process began with an urge to shoot art video after completing a complex project named "UnMirrorable(s)". Being inactive in film for over a year, I picked up where I'd left off in a neighborhood west of the National Gallery of Prague. In early 2024 I had found an amazing gouge out of a building near the Strossmayerovo náměstí tram stop but, alas, i never got 'round to filming it. And then, i'd later discovered that the gouge had been patched, sunzabitches, but decided i'd go back to that point and continue my search for things new. It's a lovely neighborhood. Arriving at my patched gouge, I sauntered on through the neighborhood with my camera/tripod, was about to give up when i spotted a grouping of vacant tables and chairs in a small square directly across from a Karvárna Liberál. Thinking I could make art from these objects and their just cleaned glass ash trays, I went to the restaurant for permission. They agreed as I promised not to scare off patrons. It was also chilly and early in the day. Sensitive to certain kinds of interference, I immediately made plans, determined	where to set the tripod as my camera would remain pivotally stationary throughout the shoot—these "untrivialities" affecting the entire work. Since the early 1990s I have treated the video camera as a "mallet" while mapping found objects, or territory (the same), with the idea that every scene, every shot, will be used (printed). I work rhythmically with still images that move (a contradiction), accepting of clumsiness, shakiness and interference from myself, others, nature or bugs (the same), with a view to incorporating these into the work. Within seconds of preparing and plopping down my gear, a quick look through the lens, I start to shoot. This is the downbeat of performing, improvising in realtime within a cognitive space inclusive of the moment and macrostructure of the work. True time-based improvisation. Where spontaneity lives. Twenty minutes later, I strike my gear and go inside the cafe for an appreciative large cappuccino. DS 091025. Dan Senn (Prague-Watertown) is an intermedia artist working in music composition and production, kinetic sound sculpture, experimental and documentary film. He has been a professor of music and art in the United States and Australia and travels internationally as a lecturer, performer and installation artist. His doctorate is in Music Composition and Ceramics from the University of Illinois-Urbana. He lives in Prague where he directs the Echofluxx media festivals, and Watertown, Wisconsin, the USA. Dan's work moves freely between expressive extremes and languages depending upon the aesthetic joust at hand. He is cofounder of Roulette Intermedium in New York City, Cascadia Composers of Portland Oregon, and the Echofluxx media festivals in Prague.