8505b7e9e0
flux.vision, tobias.raayoni-last.com and randogoth.com. They were one site until October 2026, serving four audiences from a single dated list, which is the only format that can hold unrelated things at once. flux.vision is recovered from the Wayback Machine, where it had sat since being deleted in 2021: 90 articles, closed and maintained rather than updated. tobias.raayoni-last.com is the professional record, 97 articles back to 1999. randogoth.com is the technical work, 41 articles across six areas, served as an ANSI bulletin board. History starts here deliberately. The development history, the 266-row inventory that records why each article went where it did, the Wayback pipelines, the pruned articles, the source archives and the full-size images are kept beside the repo rather than in it, so a clone is the web presence and not the argument that produced it. REFACTOR.md is gitignored for the same reason. See README.md for where that material lives, and keep it: the sort is not reproducible from these three directories alone. Each site documents itself in its own README, including the traps that cost time and look like nothing when you get them wrong.
1.2 KiB
Title: About Slug: about
Tobias Raayoni Last, Berlin/Haifa.
For twenty years I have made the visual side of cultural events: websites, live visuals, motion graphics, graphic design and interactive installations. It did not start out that way. There were regular jobs first, in web, e-learning and video production, and the VJing ran alongside them for years before it became the main work. That performance side has its own archive at flux.vision. Alongside that I have spent a lot of it organising. Coordinating festival programmes, co-founding a cultural management office, running a coworking space, and these days managing product for a software company.
The two go together. Knowing how the things are made is what makes me useful at planning the people who make them, and a schedule written by someone who has stood in the projection booth is a more realistic schedule.
Most of this portfolio is not single commissions but a handful of long engagements, four years here, seven there, where the brief moves from print to animation to projection to the technical setup and back again. I tend to stay.