themselves, lighting their lighters and doing all these things we had never predicted. CA: Social media is integrated in much of your work. How do you keep elements like live Twitter feeds as such a major element, without it descending into the banal? Pete Hellicar: We are really trying to get back to using these things as platforms. It's weird to see how the internet has changed in the last 10 years, from a place that was free and open, a place to exchange ideas and learn new things, into this rampantly commercialised space. There are waves and waves of absolute dross coming out of Twitter, but at the same time, we are thinking of these things like switches. That's really why we use it. We're interested and invested in this idea of feedback loops -- there is a way for us to communicate back and forth. Interactivity also featured prominently in another Hellicar & Lewis installation - this time the 'Hello Cube' at Tate Modern. Visitors could interact with the exhibit by sending commands such as 'next red sparkles' to it via Twitter CA: The 24-hour music session you helped to produce for Coca-Cola in March must have been risky in those terms, as it was on such a huge scale... PH: We came up with the idea with Iain Tait, who approached us from W+K Portland, during a really intensive three-day period. It really was an amazing experience because the whole idea was a 24-hour broadcast of a