Botborg has occasionally received critique for their work, some of which is replicated here.


Botborg’s work is aggressively complex and occasionally frightening… Botborg’s images seem to erupt and spasm viciously, as if attempting in confusion to exit the screen and drench or absorb the audience.
Joel Stern, RealTime

… a brutal audio-visual barrage, erratic as it is blinding and deafening. In effect it’s something like a rainbow in a blender [or] screaming television static. This is art that has no pretensions to prettiness or even intelligibility.
Fiona Hogg, The Program

… a sinister experiment upon the viewer by evil scientists too obsessed with feverishly pursued and unfathomable ends to spare a thought for such trifles as the moral consequences of their work, or the mental and physical well-being of their subjects… Recommended for noise fetishists everywhere.
Paul Condon, Foxy Digitalis

… a brutal assault of video and audio feedback that bordered on the unethical.
Greg Hooper, RealTime

Botborg blew me away at the 2006 NOW now festival in Sydney. Their relentless AV assault drew hundreds of people to the room, and transfixed them. Shitcore fans and mothers alike.
Clare Cooper, NOW now Festival


Botborg – “NeuroArt For The Not Faint At Heart” – Interview for The Program

From: J ARTS CREW :: Botborg – NeuroArt For The Not Faint At Heart Continuing the research of a Soviet scientist, Brisbane’s Botborg make art like brain surgery. “Once we were living in a house where there was an organ in the lounge-room and a key got jammed and there would just be this constant sound day and night. After a while you’d just forget about it until someone would finally hit a different key. A few days

Botborg – “Principles of Photosonicneurokinaesthography” review from Foxy Digitalis

From: Artist: Botborg Album: Principles of Photosonicneurokinaesthography Photosonicneurokineasthography is an occult science developed in the mid-60s by a Dr Arkady Botborger (1923-1981). Due to the importable equipment involved, it wasn’t possible to demonstrate this process of “writing the movement of nerves through use of sound and light” in public… UNTIL NOW. That’s what Botburg claim, and I can’t say I believe them. But this

“New horizons for audio-visuality” review of Trans-Acoustic from RealTime

From: New horizons for audio-visuality Joel Stern writes from and performs at Transacoustic, New Zealand Auckland’s Trans-Acoustic festival describes itself as an experimental platform for the fusing of sensory impressions. A brainchild of Zoe Drayton, founder of Audio Foundation, a resource hub for experimental audio culture in NZ, Trans-Acoustic featured 3 nights of performance by Australian and New Zealand