Pete Gorman is an intermedia artist creating both gallery installations and performances involving time-based audio and visual imagery created through the use of simple hand-made electronic circuits: audio oscillators, radio and video transmitters. His practice is informed by science, hardware hacking, post-musicality and a post-digital return to the analog. The installation audio deploys a noise-based aesthetic informed by classic noise proponents such as Luigi Russolo and John Cage. Installation sound and imagery are created by machines designed and set in motion by the artist, and so can be considered generative, while in performance similar machines provide a pseudo-random, aleatoric component. The work’s aesthetic approaches a form of neo-Dadaism or anti-art. The work attempts to offer the viewer an experience whereby thought and identification with an artificial and over-mediated self is temporarily suspended. In order to achieve this, the artist’s work tends to the following properties which together can be considered as a manifesto:
 not for sale, non-commodifiable
 indeterminate states, ever-changing
 anarchic, restive
 amplifying existing phenomena, thus:
 non-symbolic, non-representational, not a simulation.