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In Second Hermeneutic, the visuals are created by a pair of graphic animated films projected so that they partially overlap, the animated bands and fields of color linked audibly to the soundtrack in an immediately synchronous way – as something appears on screen, there is a directly audible response. This sound emerges from his use of the video camera’s visual output run through his audioboard to the speakers: it is an analogue sonification of the video signal. As a purely audio-visual experience, the performance might seem similar to such early expanded cinema works as Paul Sharits’ Shutter Interface (1975) where a series of four film projectors overlap their frames, creating juxtapositions and combinations on screen – as in Second Hermeneutic; however, the difference is instantly apparent in the performance itself – the soundtrack emerges from the interaction of projected imagery resembling the bands and bars of an optical soundtrack, but with the addition of saturated color.