In exhibitions, I often present the YNI Surface in a suspended form, a rotated installation illuminated by several spotlights, where we can see the rotated object itself and its unlikely different moving shadows simultaneously. I have performed exciting electro-graphical experiments with Mátyás Kálmán that included the digitalisation of the outlines of a rotating object–shadow installation recorded by a camera and using it as a control data sequence deforming its virtually generated backgrounds. The colours allotted to these are footprints of our experimenting mood and the impressions that the music evoked in us.