Tyler Brett, Select Tracks: Love Songs, 2002. Record player, five 12" LPs purchased from Vancouver thrift stores, mack-tack vinyl adhesive, manually isolated  country music tracks  by Anne Murray, Johnny Cash, KD Lang et al. Exhibited at Neon Gallery, Brösarp, Swenden as part of A Thing Called Love, a Trapp Project featuring eight Canadian artists.  

Gallery visitors were instructed to select a record and activate the designated “select track,” initiating a controlled playback event. Once activated, the system produced a continuous stream of audio classified under the operational category of “love‑song output.” This output was broadcast simultaneously through speakers inside the gallery and through loudspeakers positioned in the town of Brösarp, ensuring uniform distribution of the signal across both interior and exterior zones. The procedure required no specialized knowledge, only compliance with the selection protocol. The system produced no measurable emotional data, yet continued to generate it, creating conditions in which sentiment was neither requested nor prevented but emerged as an incidental by‑product of mechanical repetition.

As the records rotated, the manually isolated tracks by Anne Murray, Johnny Cash, k.d. lang, and others circulated through the environment with no adjustment to their affective content. The adhesive modifications ensured that only the designated love‑song segments remained accessible, reducing each LP to a single operational function. Playback occurred regardless of listener intention, producing an ambient field in which emotional resonance was both optional and unavoidable. The town received the same signal as the gallery, creating a distributed network of unintended intimacy. The system maintained its loop, and the loop maintained its atmosphere, generating outcomes that exceeded its procedural design while remaining fully consistent with it.