“I tend to re-imagine and dream of the internet every Thursday on a fortnightly basis after I stop making music for a whole damn month. Presently I have been recovering memories of these synaptic drawings of mutated paperwork lying over a cotton swab-wet and blue in color that I used to draw up on the living room wall during those happy months of April and June of 2014 but they were lost from permanent record on 2015, after four years the images were recovered on Thursday the sixteenth when I was in the vertical dream state enacting a proper self-response to the second time I felt like giving up on marketing on Facebook but chose not to”


Terza Rimah is an audiovisual artist based in India whose work primarily deals with the intersectionality of sound art and internet culture through the paramorphic re-working of environmental sounds and other aural artefacts of cultural memory and productivity into reanimated corporeal residues of a fugue state.


The project ‘TMI’ deals with the uneven structure of cultural memory-history informed by the immediate contexts of social identity and the structures of liberation and approximation, overlapping sensations of belonging and withdrawal that we experience virtually through the continuous autonomous stimuli of the internet resulting in the experiential anxiety formed out of the sheer voraciousness of our appetite for the virtual which is partially determined by the need for re-imagining the ‘lost’ - the unfound horizons of our shared existence submerged beneath all the literature and metadata of immediate contexts binding and limiting imagination within the parasitic cultural framework of originality / authenticity reducing everything down to its capability to generate surplus (cultural) value which is used to further the stagnation of the dogmatic.


Terza substitutes the despondent act of applying artefacts of acute or specific nostalgia onto the present context for an irreverent longing for an unspecified feeling of temporary departure through the phantasmagorical weaving together of environmental sounds removed from their spatio-temporal significance, cassette rips of educational tapes describing the genesis of being, evangelical and misanthropic pronouncements on being, strangulating faculties of doubt in favor of sheer comical horror and clips of shortwave radio broadcasts announcing shifts in time and space of the unconscious spliced with re-edits of contemporary and dated popular music stripped out of their contextual reverence in order to create a collage of anxious, detached yet hopeful consumption and re-imagining of experiences in the virtual world with an asymmetrical emotional center of pure subjectivity located in the chaotic structure of memory.