Like yesterday’s featured video, this video pushes the legibility of live filmed performance. Yesterday’s technically involved multiple live takes overlaid, each obscuring the others, and the ambient quality of it having less to do with any individual performance in the first place and more with the chance correlations that occurred as a result of the post-production act of accrual. Today’s video, by Flohr, is too murky and unidentifiable to ever be mistaken as a tutorial. And, of course, any modular synthesizer piece, such as this, that employs self-generating patches thus involves little if any human interaction. The hand comes down from above, the scale and surprise a bit like a Monty Python animation, a couple times, but by and large, this is really a live performance as fixed document — a patch playing out in realtime as something set in stone nonetheless, or in this case set in plastic and metal. The piece, “Spring Reverb Feedback Paths” by Flohr, is a shiny, rapidly cycling shimmer worth putting on repeat.