Farocki's ten minute short film is composed of shots of an AFN DJ at work (approximately a quarter of the film) and of a car ride, whereby the camera points out of the car (through the windscreen or the side windows) or it captures and tracks a passing car. [...]

The unemotional narrator (her serene, "didactic and informative" style is the exact opposite of the high key radio) and scraps of songs illustrate the connection between music and memory, the accelerating tracking shots in Remember demonstrate how closely driving and filmic perception are related. In a calm voice, the woman explains that music on the radio wakens memories, memories which are a gift from radio, a program filled with subjective conditions. Particularly when driving, songs can be "expounded" by 'tracking shots' of the landscape flashing past, in other words the music can become the soundtrack of our own lives, usually without us noticing. Given that hit radio evaporates the intervals between aural experiences, the listener is no longer able to form associations with memory, commercial music signifies nothing but itself – the hypertextual potential of pop disappears behind the vacuous user interface […]

The wheels of pop run idle in Heavy Rotation, or as Farocki puts it, AFN doesn't advertise anything and because of that it is a super-commercial station. It promotes the sound and the notion of being commercial. At the same time, the constantly accelerating rotation leads today's music consumer to experience the present as a memory (these days eighties songs are already being treated as oldies). AFN permanently repeats itself, transforms repetition into enjoyment and (for those who would have it) the present into eternity.

(Gero Günther)