Recorded in Eindhoven and New York, it was described by Byron Coley in The Wire 231 as one of "the definitive modern NYC guitar work[s]", and its influence can be heard in the music of Eli Keszler, Alan Courtis and many more.
Alongside Paul Panhuysen he founded Het Apollohuis, a former cigar factory in Eindhoven which became a space for performance, art and music in 1980.
It played host to performers such as Ellen Fullman, whose The Long String Instrument LP was recorded there in the venue's first year.
In IAAA he brought together machines, computers, algorithms and human persons to work together toward the complete automatization of art production.
[5] On the radicalart.info site[6] he created an extensive analytical anthology of anti-art and meta-art that lists and discusses the art historical sources that informed his artistic views.