"An abandonement of the word is needed. Being creative has always been something different to communication. Perhaps the most important thing will be to create empty space in between of non communication, irritating interruptions in order to avoid being controlled." Gilles Deleuze Whoever tries to communicate with FON is in for a big surprise. Especially through electronic correspondence the duo turns out to be postmen of subversive silence, who reply with undefined series of signs and collections of letters. Just FONetics. It`s your own fault, as one of the rare non coded FON statements is, "written communication is not happening." But it is this radical refusal of communication, which evokes these productive misunderstandings, without art or culture would not exist. Besides for potential enemies, hanger-ons and freeloaders it`s instantly all double-dutch to them at the first contact and without further connection it will remain that way. But FON keep the appearence of possible decodifcations. With a two-faced grinning they leave traces which consist of codes. systems in a fragmentary form (Morse signal, SETI - code, insect - codes)to open "polyvoke shape " (Deleuze/Guattari). It naturally entries to trace search and trail reading. But dealing with Fon enlightens the appreciative moments exactly emerging from the time you realize. You have just been put in a tricky situation again, the strenously carthographied trail proves to be the wrong one and you could not make way for the skillfully put down trap. - "The black hole has become a home" (Deleuze/Guattari). It is just here in a proverbial heart of darkness of D-I-Y constructed landscapes of no origin and conceptual structures where aspects, vectors, co- ordinates, crossings and cross connections of transgressive poetics of extended reality perceptions are flashing. They can be newly arranged and meanwhile stored as traces, images of ideas and images of memory. The FONologic maggots and larvas log in hidden feeding throughs filled with fragments of theory and wrong gear changes with different and multifarious notions and discourses. In summary it might be said FONologically, "The black hole has become a home" (Deleuze/Guattari). FON`s blueprints for a sawmill disco are out for full body messages. Electric intensities, produced by swaying voltage, modulated frequencies and waveforms are heavily buzzing around like shavings or flashes. You feel high tones itching in the feet and deep basses kneading the brain. The stamina in between is swinging the electro-boogie-woogie-plastic-twist. Polyrythmic electrosmog- delirious states are crossing, overlapping and fighting each other and by doing so, they turn the whole nervous system, the whole body into a receptive (even lecherous) sensorial for " new audio-forms of life" (Kodwo Eshun). "We are a whole system of periodical rhythms in the body. There are a lot of overlapping cycles, very fast ones and very slow ones. All together they produce a very polyrhytmic music in the body." (Karl Heinz Stockhausen) As far as FON are concerned these periodical rhythms submit radical processses of transformation. Because in this case it is no longer about "natural" body- rhythms (as Stockhausen still relates to) but about a rhythmatic in a "humanly impossible chronometry" ( Kodwo Eshun). "Groove comes into existence, where overlapping rhythmic structures interlock, where beats get synchro messed up." (Kodwo Eshun). Reason for this FONomatic is dealing with accoustic codes as well as materials in a very special way (no matter it is electrostatic chargings, experimentally produced magnetic fields, swaying voltage which varies the sound potential of steel wool or Tv-Sets which are modified to synthesisers we are talking about). Here is the sound and sometimes singing as a saw electricity get`s cut, divided and screwed up, looks slightly mouldy and overseizing like in a state of absolute indifferentiation like a physical status between gas and plasma. Mutating and oscillating as a tactile "search + destroy" - treatment between amorphous, temporary limited factors of attraction and most of all outside of conventional userfriendliness. As far as the music of Fon is concerned it also indicates that it might" dissolve into toxic slime and assimilate passers by " (William S. Burroughs). That is the reason for all those non tangible, annoying dub-insects which are free floating through the acoustic space, nibbling at bassfrequencies like termites, offering their slime- and gland secretion as fuel for FONautic pop expeditions that lead into acoustic space and anamorphotic distortions and stretching of rhythms as well. If 19th century mathematicians like Bernhard Riemann were working on the assumption that electricity and magnetism are caused by creasing of three dimensional universe in a fourth space dimension (so by bending of a higher dimensional space we would call "the other side of the wurmloch" nowadays)then FON try nothing else than penetrating into such higher dimensional sound universe in principal. But the FONautic bending and anamorphosis are also understandable for the body, they even think through it and encourage for new configurations/definitions like in case of finest pop music which always defined itself through pleasure and value increasing simultaneousness of apparent contradictory conceptual characteristics as KITSCH and Avantgarde or glamour and trash. FON`s electricity - even in its most abstract moments - is labelled with crackling horny FONeroticism which reminds us of Lou Reed`s mid 70-ies harakiri-hardcore-feedback-orgy "metal machine music". A trail FON would never take into account but on its traces and alignments they involuntarily have been following since a long time. As if it would be walking on the ultra machine rocks-wilde side.