The performance and installation (un)popular culture, exposes a constructed and documented action where I have used a séance mobile app featuring a ‘medium’ attempting to make contact with ‘spirits’. I attempt to make contact with the lost digital signal PAL (Phase Alternation Line) which is being switched off Australia wide, prompting an influx of analogue Television sets being dumped nationally and the eradication of this signal. The outfit I wear consists of Hungarian folk cultural dress from my matriarchal line, (combined with found materials) to interconnect between digital folk-lore and traditional folk culture. The installation also responds to the phenomena of Cargo cults (which Wikipedia describes as a kind of Melanesian millenarian movement encompassing a diverse range of practices occurring in the wake of contact with the commercial networks of colonizing societies. The name derives from the apparent belief that various ritualistic acts will lead to a bestowing of material wealth i.e. “cargo”). This work explores the distance and the tension between technology and the voracious desire for technology, and was created in response to and as part of, Networked Art Forms:Tactical Magick Faerie Circuits at CAST in Tasmania.