By working with computer algorithms especially the experimental aspect is important to me
- neither the transformation of abstract concepts nor the approximation to preceding
imaginations of sound. One is confronted with results that demand immediate further
development, also against the original intentions. As a consequence I decided for
a procedure, which allows to concentrate exactly on this flexibility and restricts
planning to the framing experimental conditions. In the sequence Lokale Orbits
instrumental sounds, recordings with the musicians concerned, are the starting point.
Granular synthesis - actually: buffer granulation, the synthesis of tiny particles
of a basic sound - allows a huge bandwidth of results, a gradual transition from
real sounds into electronic space and is therefore suited for "mixed" instrumentations.
In the progress of the sequence I tried to diversify synthesis procedures. In Solo 3 the stochastic control of granular clouds, rhythmical granular layers and the oscillation between pulsating and non-pulsating granulation are combined.
Structuring the compositional process this way does not suspend historical-dialectical thinking. The reference to historically mediated structures is omnipresent and demands respective individual decisions - thereby I'd like to take the freedom to newly perceive wellknown relations (e.g. simple intervals and progressions) under microscopical and macroscopical changes.
The project was realized with support of the Giga-Hertz Production Award at the Center for Art and Media Karlsruhe.