Careful confusion: moments of flesh, advertising, music blows, eye, ear and head spasms, newscast voices, small epileptic evolutions, trios of ballerinas, dance lashes, women, street riots, ... potato.

C.H.A.O.S. is the result of a nervous shock in response to the simultaneous contradictions of media information. It is organised in spasms, micro-repetitions and scratches, as if part of a compulsive anxiety attack on a switch. Various dichotomies overlap – desire/hate, positive/negative, violence/pleasure, etc. – tangling up a muddle of specific references on a mental stained-glass window cut across by exchanges between the receiving senses that go beyond words.

Media saturation affects the individual like a complex net in which any key fragment of information disappears and any banality can become the nerve centre of discourse. Lashes of fragments, in scratches muddled with images and sounds, evidence the failures of the personal systems of media thought in the face of an imperfect environment, covered up by social consensus. The impotent spectator, mutilated by the subliminal bites, is forced to concentrate on a monolithic thought: the potato.

Many of the keys to this work become clear when we compare it with Palmeiro’s colleagues at 12 visual – a collective of video practitioners in Barcelona of the end of the 90s. It became quite common amongst some of the group members to create communication corporations with just one person, as a critique of the economic manipulation of the audiovisual media. This is how Fundación Zero (Joan Leandre), Me pierdo productions (Nuria Canal) and Psico Tv  (Toni Serra) started. After this video, Palmeiro himself started the company C.H.A.O.S. Macro TR.