Having talked about the piece with several friends and colleagues in different fields of the media, I came to the conclusion that my inspiration actually had a lot to do with the generations I partly belong to.  As a teenager, I had a strong urge for identity due to my background.  

I tried to be part of several sub-cultures like punk and new wave, but somehow I could not assimilate: the beauty and harmony I'd discovered in nature and art just wouldn't mix.  As I tried to feel at home with my soul mates, I apparently wasn't ready for their tribal behaviors and their hard cynicism, which seemed to have no bottom and no borders at all.  

Whenever I tried to go to new places, showed interest in 'other tribes'; I was surprised with conservatism.  When I first felt sheltered by starting to express my ambivalence with tape art, my friends (who all played in bands) told me I would never get somewhere, as it was no music at all.  The connection failed, and besides my never-ending search for harmony and truth in a confused environment, a decline took place within these subcultures themselves: ideals were getting cheaper, becoming fashion trends.

But with the arrival of techno and house music in the early 90s, the dawning of a new generation seemed to reveal itself and once again I tried to be absorbed.  Somehow it didn't happen. Having seen society change so rapidly, I couldn't disconnect my scepticism any longer which was 'deadly' under the circumstances: somehow this generation lacked a political issue, wasn't keen on discussing the what's and whey's of their time.  This is why in Dutch this generation is referred to as "Generatie Nix" which means 'Nothing Generation', which was derived from 'Generation X', the punk-wave of the 80s.

It's hard to describe what drives this generation.  From the outside looking in, it appears that there is no other goal than empty minded enjoying anything that your senses can pick up on: video-graphics, wild design, outrageous sports and violent entertainment and of course: designer-drugs like XTC.  

But if you look further and add some perspective, you'll find that the 'youngsters of today' may have some good reasons for this behavior.  Every ideal they would normally pick up from the preceding generations has already gone to smithereens: politics have proven them that resistance is useless because controversial decisions will be taken no matter what the odds are (e.g. nuclear warfare, environmental issues) and that democracy is merely a waste of time and paper. Education won't lead to job-guarantees any longer, television and the music-industry are Big Business, where talkshows are faked, heroes created.
Furthermore the amount of information that must be consumed is enormous and mostly has little to do with their true facts of life.

And yes, I believe that this generation brought us new artists, new perspectives to art and that the techno-revolution is the tool for 'Generation Nothing' to obtain knowledge and most importantly to them, replacing it with their visions adapting it to their ways of thinking, their own taste.  This is why so many media are recycled - remixed into techno-versions.

It almost gives me the idea of a 'Fin de Siècle': everything that once was is to be picked up: reviewed to live forever, converted in bits and bytes or destroyed, erased from memory. Very recently I heard a Happy Hardcore Techno-version of 'The Age of Aquarius' (the original is from the sixties-musical 'Hair') which is just one of the many stunning examples of a 'Recycle or Die'-process.

Of course this is just one way of describing a generation, based on personal experiences with people my age and younger, but somehow I feel the need to plea for them against anyone who refers to them as waste of a consumers-society.  They too, like any other generation, use the means of shock and disruption to pave their way to renewal, their future.  

Although my Generation Nothing can't help me get rid of my ambivalence, I tune in daily to the enormous and raw energy that this generation radiates, maybe as a bystander, but not an outsider.  It leaves me with feelings of alienation, fear, amazement or romance.  Dissonants that I try to bring to balance in harmony within my work.

AeroSon is conceived and produced in a way strongly related to the thoughts mentioned above: the cynism, the glorifiation of technology (for better or for worse) and the ways to deal with information-overload.