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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.
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Title: DokfestLounge Kassel Date: 2015-11-01 Category: performance Slug: dokfestlounge-kassel-2015 Thumb: /library/dokfestlounge.jpg Background: /library/dokfestlounge.jpg For: DokfestLounge Kassel http://www.kasselerdokfest.de/en/festival/lounge/ With: Kool Mister DJ https://soundcloud.com/koolmisterdj Capture: 20161011162953
I was invited by the DokfestLounge to play at their Opening Party. DokfestLounge is the audiovisual arts side-festival of the DOKFest film-festival in Kassel. As a tribute to the film-festival's focus on documentaries I decided to do a "dérive" performance. During the day I drifted aimlessly through the city of Kassel and recorded subjective moments and impressions on the way. All and only this material was mixed and edited live during the night's performance to the music of Kool Mister DJ.
Thanks to Claire and Jan of DokfestLounge Kassel for the invitation and local support.
Here are some impressions of the performance, filmed and edited by Claire Fristot: