. . On the other hand, this visual-semantic complexity rarely extends to new types of synchronization between music and visual form, or allows the song to challenge the video's seduction of the viewer. [145] 'Electric Earth' achieves much of what Berland believes of music video's ability to be the most "innovative mode of visual language available on television" [146] ; by recreating a visual sense of the complex rhythms within the song the video attempts to map the relationship between place and space. Because the visual language in the video for 'Electric Earth' is rhythmic, rather than 'realistic', it thus regulates the relations between territorializaton and deterritorialization, which Grossberg describes as the function of rhythm. Commenting on Deleuze and Guattari's assertion that music is the most "deterritorializing" of all practices, that it "destroys the codes that guarantee the repeatability necessary to both power and everyday life" [147] , Grossberg writes that: music is a primary agency of both territorializing and deterritorializing forces . . . We begin with a necessary contradiction: territorializing and deterritorializing. And yet somehow the story we tell always seems to put the former into the service of the latter: place in the service of space, stability in the service of mobility". [148] As has already been shown, the video clip accompanying a piece of music can further break down the established order between territorializing and deterritorializing, but whereas the video for 'Hine e Hine' is shown as favouring the former over the latter (a position which