Talking Drums

Forty identical snare drums hang at head height from thin steel cables, individually and in recurring wall positions on the rhythmic column arrangement of the architecture. All drums resonate the sound of short chalk strokes, similar to a fast writing process. In the joint interaction, a staccato, aleatoric form of dialogue emerges. A "conversation" of the drums in different moods, with the background noise constantly changing between the original sound of the recording and the typical resonating sound of a snare drum.

The directions of the movement of sound are composed and stride across the spatial shell in its entire extension. Both, the speed of the audible addition of sounds in the room and their volume, vary in different sequences.

In this sense, the listening process can be started or ended at any time. There is no compositional beginning and no end.

• Singuhr Hörgalerie, Kleiner Wasserspeicher, Berlin 2008

40 identical snare drums (hanging) with integrated speakers; steel cable; 18-channel composition; electronical equipment; cube; drawings as book object

In relation to the audible material and as an idea of acoustic drawing, a collection of sheets, prepared as a book object and firmly connected to a pedestal, is located in the central area of the room. These drawings, are throughout developed on the graphic form of a circle and resemble the snardrums used in diameter. I understand the drawings as a proposition about the visualty of the moment, fields of sound available through the different resonances and audibles at this place.My intention is a moving sound field, giving direction in space. A large number of acoustic sources are activated in such a way that an audible addition of similar auditory phenomena leads to a common sound movement. The basic idea is the formation of an accumulating cloud of sound from the individual to its rapid multiplication in an ever new acoustic movement. In addition to these permanent local changes and directional orientations, the semantic effect of the change in meaning of what has just been heard is created, since the reception of the individual phenomenon appears as something completely different from the rapid multiplication into one direction of hearing: while moving, the sound mutates.