Daria Martin uses the medium of film to reveal and explore thematic polarities, to make explicit the artifice behind the lrycism and seduction created by her work. Reality versus illusion, stasis versus movement, modernity and romanticism are just some of the tensions explored in her work. Her film making is a purposeful mix of the sophisticated and the crude. Drawing on a rich source of philosophical and artistic theory while eschewing technological advances, her films aim to overtly seduce the viewer into a dreamy 'virtual reality'.

Electra has acted as music consultants and paired Martin with Zeena Parkins as a composer for Martin's new film Loneliness And The Modern Pentathlon. An accordionist, harpist, composer and improvisor, Parkins has also extended the language of the acoustic harp with the inventive use of unusual playing techniques, preparations, and layers of digital and analog processing. Parkins makes use of anything within reach as a possible tool with which she can enhance the sonic capabilities of her harps. She thinks of her harp as a 'sound machine of limitless capacity' and has used household objects and hardware store finds, including alligator clips, nails, rubber erasers, rubber tubing, felt, bows, metal candy lids, hair clips, glass jars, discarded strings, as well as more conventional leslie cabinets and guitar pedals to explore her instrument.

Martin's next project, Wintergarden, will be created for the inaugural exhibition at the De La Warr Pavilion, a Grade One listed modernist masterpiece on the English Seaside. The Pavilion has been closed for renovation for several years, and will launch its new gallery space with an exhibition called 'Variety'. Wintergarden aims to create a new form of variety theater, mining and fast-forwarding this genre's rich traditions to create an artwork that is surprisingly contemporary, even futuristic. Martin and Electra are working together to bring Norwegian composer Maja Ratkje into this project, as a soundtrack composer and to play a part in the film.

Maja Ratkje is active as a singer/voice user and electronics player as well as studio engineer, mainly in connection with the Norwegian contemporary improvisation ensemble SPUNK and the noise duo Fe-mail. Other main collaborators are Jazzkammer, POING, Lotta Melin and Jaap Blonk. Ratkje has performed her own music for Ibsen's play 'Ghosts', and her voice has been heard in Icelandic film music as well as in contributions to numerous other projects. She played a leading part in her own opera, based on the texts from the Nag Hammadi Library in 2003. In 2005 she performed the voice solo part of her first big work for orchestra, commissioned by Radio France. In summer 2005 she will be touring worldwide with American noise musicians Wolf Eyes with her duo Fe-Mail.