Images rush at you and recede, flash and disappear, glitch, shimmer, vibrate and then fade away. Appropriated from early Disney films and rotoscoped cartoons from the 1930’s, these nostalgic and sometimes sinister scenes and characters compete with animated puffs of smoke and the scratchy frenetic motion of luminous marks. These lines trace the movements of a performance by Glenn Gould of Anton Webern’s Opus 27 but sometimes coalesce to form barely legible text and words taken from the poetry of Webern’s muse, Georg Trakl. Sometimes the whole scene is obliterated with bight white light against an otherwise constant black background. The timing and choreography of this digital animation is perfectly synched with a discordant solo piano composition of singular notes and occasional chords. Avant-garde composer, Anton Webern was one of the foremost pioneers in the use of atonal techniques in music and the dissonance heard in the score becomes a driving motif of the work. The images we see rehearse moments of connection and interaction, both violent and more benign and signal ideas of communication across mediums and time. Like an anachronistic, historically disjointed music video, the work points to competing and complementary idioms of the early to mid-century. Ideas of discipline, connoisseurship, cultural cannons, and the avant-garde impulse to critique mass culture are held up as an allegory for the violence of the early 20th Century and its complex legacy in our contemporary visual and sonic landscape.