the door (which opened towards the inside), and tied a rope to it, the other end with a noose tied around my neck, I blindfolded and tied my hands and feet and then stood there. The audience could watch all this through a closed TV-circuit I had installed before, so they knew they were trapped in there, and one of them had to open the door and pull me down in front of all the others. This happened after 10 minutes or so and they all ran through the door. Again I tried to confront the audience with themselves, forcing them to do at least something. I often compare it with a car-accident or some disaster, everybody thinks of himself 'oh I'm not into sensation I'm not going to watch this person in need', but on the other hand they're all around it and the more blood the more they like it, because people DO like that kind of things, they just don't admit it, they're curious about it, they want to get into the details. And I just tried to make them feel as they were in the situation themselves, and facing them with themselves and their greedy fantasies.

The music we make can not be compared with anything you know, we use only electronic devices and synthesizers, no regular rhythms or 'beats', sometimes it's just a wall of noise with distorted vocals mixed in, or tape-loops of different noises or words, basic rhythms of machinery and stuff like that. Also the concept is totally different. We have this piece called NOW I AM DEATH. It's totally based on feedback and vocals sent through a synthesizer. I am hanging upside down and a film is projected onto my body, all images from television about nuclear explosions, war, demonstrations and science-fiction movies, mixed with violent images I filmed in the street. I keep repeating the words NOW I AM DEATH, THE DESTROYER OF THE WORLD, which is what OPPENHEIMER said when he saw the results of his own invention, his face all warped and frowned like a dry apple. The sound of my voice is treated with a synthesizer into howling, screetching and grunding sounds, usually played as loud as possible. In another piece I do vocals in a glass recipient filled with water, we use a special microphone to record sounds of fish, my voice under water sounds like a strange animal or even like an earthquake or something. Too bad you can't receive cassette-tapes.

About art/crime again, you don't agree about 'uncontrollable urges', if not what in your opinion drives a criminal towards his crimes. It's maybe not the right word 'urge', but as far as I'm concerned there is this kind of 'drive' that makes me keep making sculptures or objects or whatever, you want to call them, things inside you that you have to get out, and maybe 'normal' people either don't have them or let them out by playing cards or go jogging and run their hearts out through their mouths. I don't know what it is, but there must be something that keeps us going, both artists and criminals. By the way, with artists I mean artists who really only are involved with art, or try to make something new, something original, with a meaning, a 'message' if you want. By criminals I prefer to talk about big thieves or psychotic and mass-murderers. I guess they show most the true aspects of both personalities, I don't consider someone who kills someone in a quarrel as a true criminal, only someone who's either ingenious about it, or who goes really 'all the way' one way or another, forward is where the road goes.

Allright I guess I'll end somewhere here, I'll send a magazine separately, probably arriving a few days later than this as I send it third class (cheaper) than this first class. I hope you'll reply soon to

DDV.
P.O. Box 60
2200 BGHT,
ANTWERPEN
BELGIUM.





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