Whatever you set in a space, it has an effect.
An apparent frame condition becomes an artistic aesthetic setting.
These are the materials space – vibrating body – content, with which artistic work is done. These raw materials are in the pure sense Objet trouvés, which make themselves sonically at all possible. Only in this togetherness their individual characters become perceptible and an artistic process can begin. To work seriously here means first of all to enter unprejudiced and without an idealized sound image into the encounter with a content that combines with the materiality of a loudspeaker and the materiality of a room. It is the search for the unimaginable, the pre-utopian, which can only be found when what is offered can appear uncensored and the artist focuses his attention on what is for the time being contrary to his taste. The effect of, for example, Thyestes on a cracked car loudspeaker, lying alone without chassis on its own magnetic coil in the middle of a 600m2 empty former factory hall with concrete walls and asphalt floor, is unimaginable until the moment of listening. A different position of the loudspeaker produces something entirely different. Or a second loudspeaker: far away, its sound uniquely refracted by the materiality of the site, only here so refracted, only here so result the differences in running time filtered in this way.
The artistic work continues in this or a similar way. Depending on the placement of the set up, only in this place possible artistic parameters are offered, no matter if hall; cellar or dance palace. At any moment the inaudible can make itself felt. In large areas there are sometimes up to 60 loudspeakers with the most diverse sound contents, combined in multi-channel systems and as self-sufficient units, contents that move through the expanses, slowly, quickly, through spatial zones with different frequency bands, and so on.