The Konstruktion series emerged from the need to create new sounds for my musical visions that I could not find on the instruments I was familiar with. I imagined sounds that would move through space within electroacoustic solos like colored objects or refractions of light, permeating each other or transforming like a kaleidoscope. They should be embedded in a form that surprises me and others repeatedly, so that each concert becomes unique and a particular performance of the underlying composition.
One example of this is the realization of the idea of a deep blue, shiny and transparent sound. For this, I used a suspended, densely microphoned foreshock plate, which was played with copper pipes, pieces of wood and soft mallets. I fed the resulting sounds into the computer, where they were transformed live within the Max/MSP software using tablet controllers and other tools (Konstruktion #1, 2013).
