With its acrobatic athleticism and penchant for charming gimmicks, in all likelihood HipHop will indefinitely dominate the field of turntablism. Even record-spinning abstractionists like Christian Marclay and Martin Tetrault, who may not always share HipHop's necessity for the beat, put on flashy demonstrations that engage the machismo of technique, alongside their critically minded recombinations of cultural readymades. While Philip Jeck's performances, installations, and recordings have centred around his arsenal of turntables (at last count, he was up to 180 antique Dansette record players, though more normally he performs on two or three, and a minidisc recorder), he isn't terribly interested in the contemporary discourse of turntablism, preferring to coax a haunted impressionism with those tools. However as a calculating improvisor, he shares affinities with the turntable community. Once he is in control of the overall context of the music, he leaves much to the spontaneous reaction towards sound at any given moment.