RES3ARCH
»sinusoidal run rhythm«
»sinusoidal run rhythm« arises from the addition of cosine functions in phase with integer frequency ratios, modeling singular microtemporal grids with dynamic weightings. Rhythm is thus conceived as a wave and formulated as a complementary, more precise, and integrable model compared to conventional European rhythm theory.
A book, code, and M4L plugins were published by Wolke Verlag in 2023.
Book: Wolke Verlag (2023) · Code: Repository (2023) · Plugins: M4L (2023) · Insight: Theory and JavaScript web app (interactive demonstration) · JavaScript web app (direct)
The dissertation of the same name was published in 2026. Open Access eBook also published by Wolke Verlag.
Performance
»Talking Ears«
for drum set and two speakers 9′ (2024)
»Talking Ears« is the first piece in which »sinusoidal run rhythm« It is used as live electronics and controls the amplification of a drum set to two loudspeakers. The loudspeakers project differently modified signals, causing the sounds to move.
video · Score · Release (Label Ensemble Musikfabrik)
»Lass mich bei den schicken Villen in den Wicken chillen!« (2020/2021)
for drum set, ensemble and two 9' speakers
»Lass mich bei den schicken Villen in den Wicken chillen!« works with rock music as a social agent in the sense of Karen Barad’s »agential realism« (Meeting the Universe Halfway, 2007) and combines ecstatic, physical energy with structurally comprehensible complexity by recognizably preserving found material while simultaneously radically hybridizing it. An envelope follower places the instruments in an allegorical »intra-action«: The drums only amplify the other ensemble instruments when they themselves are playing, so that the musical agents complicitly shape each other.
Fake Marble Classical (FMC005), 2025, digital and booklet
»Amphiference« (2019)
for drum set, Minimoog and two 14" speakers
»Amphiference« (2019) was created for the vinyl album of the same name and engages with music from psychedelic rock as a powerful social agent in the sense of »agential realism« (Karen Barad, Meeting the Universe Halfway, 2007). The openness of a relatively large group to music categorized as „experimental“ provides the impetus to explore this era and connect it with contemporary thought: ecstatic, extremely physical music encounters structurally comprehensible complexity, whereby existing material is recognizably preserved and simultaneously radically hybridized. The instruments are electronically interdependent via a convolution filter; the resulting spectral intersection of both sounds emerges from the speakers – as an allegory of mixing and of already being mixed.
video · Score · Audio/Release
Umland Records (UR45), 2022, 12″ Vinyl (45 rpm) and Digital
INSTALLATION
»Prophecies«
The individually accessible language installation »Prophecies« (2008) uses projected text and a computer voice that directly addresses the visitor, making predictions. The text relates exclusively to the exhibition situation and employs cognitive dissonance as methods of confusion, revealing the nature of human perception.
»Prophecies« is part of the collection of the art museum of the Archdiocese of Cologne – Kolumba.
»The Modernist Anticlock«
»The Modernist Anticlock« (2019) is based on Bill Dietz's dream from November 2015: a clock with three hands moving at different speeds that reverse direction upon collision; for the installation, this device was virtually simulated and implemented in Max/MSP. The movements of the hands are projected into the space as directed sound beams via a spherical IKO loudspeaker (20 channels) – partly two-dimensionally, analogous to the clock, and partly in complex three-dimensional paths that interpret each hand as a dimension of the space.
video · Documentation (part of the installation)
TH3ORY
»Amphiference and Animistic Twist – Thinking Things«
The essay »Amphiference and Animistic Twist – Thinking Things« (MusikTexte 163, 11/2019) situates the work with the IKO loudspeaker within an aesthetic-theoretical horizon beyond a subject-object separation (among others, agential realism/neoanimism). At its core is the neologism »amphiference«: music as a reciprocal interplay of sound, space, technology, perception, and context.
