2026 Duration 5:40	4K Video & Found Objects + Flute & Bass Drum(s) by Dan Senn (see demo video) Use head phones!
This work, Poulična Galerie s Interferencí (2026) (PGsI), further develops Uličnická Galerie (UG) adding parts for flute and bass drum(s). Both Czech titles translate, in part, to "Street Gallery" with this second version emphasizing patron interferences. UG was constructed from two standalone improvisationals: a found sound object and an found video object. To view the video in its silent form, turn off the volume when viewing UG. PGsI, for found video & sound object + flute & bass drum(s) is an iterative regeneration of UG as described here in detail. The introductory paragraph of this text is just below. “Pouliční Galerie s Interferencí” (PGsI) is an iterative, experimental work developed from “Uličnická Galerie” (UG), also iterative and consisting of two found object improvisations in visual and aural mediums.  It details the merger of these temporal mediums in way meant to preserve the integrity of each while producing a second composite  work of equal standalone coherence. It further explains a basic for including live musical instruments in the making of PGsI, that advances preservation of the original improvisatory files, makes links to content perception in the original video shoot while preserving preferability and lays groundwork for a work not yet produces using additional instruments. A program note may include that the the video was shot across from the Czech National Gallery in Prague on a busy street with many citizens walking through the camera field. That the gallery is one of the few remaining decrepit buildings post communism in a city once desirable to artists in search of alternative environments. That the "faces" that appear in the film are by chance but accepted as were the walkers. That the video and sound track were fabricated from "found objects", the Galerie a found object, separated by several months without any inclination of one day being used, combined, considered for "media knitting" while making this piece. The live instrumental parts are also considered a form of interference here like a stubborn child wanting recognition. The sound track improvisation was made from an empty plastic refridgerator fresh vegetable bin, unapologetically. A "standalone artifact" means that a work needs nothing extra to survive on its own and important distinction here. In Uličnická Galerie the video is a kind of rhythmic improvisation and mapping of an object, here, the front of a gallery comprised of no internal space. The sound track for this work is made from a found object, a plastic refridgerator bin, an improvisation made months earlier than the video improvisation--neither the visual or aural performance were intened for one another. The aural performance can be found in Flat Works, a work called Beko Bin that is a discreet work meaning it standsalone and needs no extra help for survive. For many years, especially in the 1990s, I presented mapping videos like this one, all edited in-camera, alongside live improvisation on my own sculptural instruments. An example of this is "Four Sides of a Japanese Language School" where simultaneities between the prerecorded video improv and the live aural improv occurred by chance. This method was very satisfying to me but in 2023 I started to experiment with  juxtaposing standalone mediums, improvs in video and sound, to see if it was possible to enhance these  simultaneities without spoiling the  spontneity of the original works. For two years I work on this concept and discovered that the visual objects I was drawn to were often in public environments or where wildlife coexisted, mostly insects and rather than edit these out, I considered them as interesting interferences. The video here was shot on a busy street in Prague across from the main modern art museum in a neighborhood populated by artists and people used to artist working who rarely asked for permission to walk through the camera field. And so I learned to respect this calloused disrespect by accepting it as part of a work's aesthetic. For this work, I was interested in experimenting with adding a live performance to an already existing work, Uličnická Galerie, in a way not unlike the "knitting" process I used in the work just mentioned. But let me first confront a conundrum immediately experienced when attempting this. The easiest way to combine sound with video is to start the video and to start playing or turn on a recording and when affordable digital cameras became available, the two mediums could be fixed on tape if desired--where simultaneities are mostly by chance.  This was especially useful and effective in the days before digital video was available. While editing gear for analog video edit was available, of course, it was beyond my means and so I learned to edit in camera and to play live my own instruments. When affordable cameras went digital   .ive component, Uličnická Galerie” (2025), the video portion, was made from a small part of frontage of an artist-nominated street gallery across from the National Gallery of Prague. The sound track is from an improvisation at Gasworks Studio using a plastic bin from the studio refrigerator (see Flat Works, 2024). These two were edited independently, many months apart, to create "standalone" works later "knitted" together. (Read "RKM Interviews Dan Senn" for philosophy and process.) The film site is one of a few remaining undeveloped buildings in Prague today, a city and country that offered numerous alternative venues and opportunities to artists post 1989. The site was also selected for the anonymous walk-bys, these incorporated into the structure of the work. I consider this "gallery" a found object.	Rehearsal, Demo & Performance Files a. This is a PDF of the entire score. b. A 1080 video version of full score with only the flute and drum sounding. c. A 1080 video of score with only drums  sounding for flute rehearsal. d. A smaller 720 video demo version of fixed plus live parts (same as in banner titling). e. A 720 Performance video for practice f. A 1080 Performance VS of fixed video without the live parts. g. A 720 version of the fix parts without live Sibelius parts added. h. A 4k Performance VS of fix video without live parts (by request). Performance Instructions + This work requires a large 16:9 screen and a 2K or 4K video proojector. Back projection is best but overhead front projection is good too. It needs stereo speakers with 12-15" woofer or an independent subwoofer. The performers, 1 flutist, and a percussionists playing a bass drum on its side playing both parts. If a second percussionist is used, use a street bass drum also on its side with a harder stick. The performers play from the same composite video score sychonized with the projected fixed video and sound track using VLC (free) capable of playing two video files simultaneously. with a high rez signal routed to the video projector, its sound track to the stereo speakers. The score for the live parts, are simple but require rhythmic exactness.to achieve synchronization effects with the projected video. The flute may need to be miked-amped for balance either to it own speaker or mixed in with the fix sound. Whatever sound better. Again, the projection screen is centered between or next to the live players or positioned above the players while not obstructing the image. The score video may need to be split, or mirrored, to a second monitor for the percussionist(s). A technical person may be needed to work out the logistics for performance while also setting balances. He or she will be named Bernice for the perfomance. For individual live instrumental rehearsal, the PDF score and the The work is under six minutes but may be preceded by another visual work, preferably a piece for fixed media alone. While often evocative, there is no intended symboliism in this work. With some exceptions, it has not interested me much to use art to communicate beyond that realized by surface structure. This is the source and focus of my creative energy. In recent works I have been improvising in time-based mediums on found sound  and video object/territory to create standalone artifacts which I then combine using foundwithout much thought given future media combinations. Each level of improv in whatever medium must stand alone, it's spontaneous, live characteristics intact. if combined with other standalone works, the challenge is to create an works mutually beneficial without the loss of inherent spontaneity—a metaphor, perhaps, for a healthy society. DS 090725 a. PDF of Score - Flute and Drum Parts b. 2K Score Video Flute + Drums Only c. 2K Score Video Drums Only for Flute Rehearsal d. 720 Demo Video of Live + Fixed Video & Sound e. 720 Performance Practice Score Video f. 2K Performance Version of Fixed Video Without Live Sibelius Instrumental Parts g. 4K Performance Version of the Fixed Video without Live Sibelius Instrumental Parts (by request).	Dan Senn (Prague-Watertown) is an intermedia artist working in music composition and production, kinetic sound sculpture, and experimenta/documentary film. He has been a professor of music and art in the United States and Australia and travels internationally as a lecturer, producer, 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. Click banner above to enlarge image. a screenshot from the projected video. Performance Instructions