I music in space | II acoustic - optical - concrete | III zeitklang/klangzeit in
landscape and architecture
| IV rhythms . rituals . dance
V pure music - music as space | VI alea music | VII cosmos of play

    Sound, music, landscape, architecture, form,
    sculpture, light, color in vanguard composition
    and the integral interplay of the arts

    developed specifically for particular acoustic,
    medial, landscape, and architectural conditions

    creates new forms of contemporary art
    and ways of dealing with it

    links art and daily life, understands technology
    as a cultural instrument, incorporates research

    is vision, reflection, and realization
    of a vanguard art free of ideology

    provides the senses with an experience
    of holistic contexts as a balanced interaction
    of parts that build a whole

    manifests itself in accordance
    with rules and by chance

    integrates relationships of timelessness
    and contemporaneity of truth and beauty
    of the universal - the individual - the social

The various aspects of INTEGRAL ART are arranged
in domains. The individual works, however, may unite
aspects from different domains. The theoretical basis
for INTEGRAL ART rests on the theory of an integral
music and sound-art, as well as in the philosophy
of an integral modernity.

domain I

no stage, no podium
the audience in the midst of the movement of the music
or moving through the music

sources of sound arranged geometrically
throughout the space or over several spaces
echo-field acoustics

dimensions constituted by a number and its geometric figure
- investigating archetypal qualities -
in rhythm, in sound, in moving from position to position

Experience of sound and rhythm
in the unity and tension of a space, or several spaces
relativizing of time

Time as space for movement

abstract - concrete

in auditoriums, halls, churches, courtyards;
not every space is suitable

instrumental - vocal - electro-acoustic / computer-driven

selected works:
Synopsis | Fusion-de-Fusion | Auri | Konzert in Spiegelform | Transforma | Innenklang


domain II

the archetypal (as the integral and invariable
core of an abstract idea or pure feeling)
acoustically and optically concretized

without any literary program

the tension of the optical and acoustic,
not in any doubling,
but engendered by mutual supplementation
of the perspectives of eye and ear

The harmonization in form and color
of the optical and the acoustic
as the unity and tension of opposites


through use of the appropriate technical equipment
in suitable spaces
making manifest

Sound sources
painting - sculpture - projections - film - dance - pantomime
voices - instruments - electro-acoustics

selected works:
Synopsis | Klangsegel | Zeitschwingung | Syn 3

domain III
ZEITKLANG/KLANGZEIT (time-sound/sound-time)

Sound-art projects, landscape-sound compositions and acoustic sketches for concrete environments (created specifically in reference to the environments)

Experience of silence, experience of sound, experience of the rhyth m of sound and silence, experience of time, perception and assimilation of the landscape and architectural qualities of the environment

temporally and spatially specified and delimited,
forming variations for different seasons and times of day

Interplay of the natural and the artificial,
of the organismic and the technological,
of the optical and the acoustic

organismic - cosmic

in specific architectural or landscape ensembles;
in a room, a house, a church, a hotel, a train station, in the subway, in the elevator
in a garden, a park, a landscape, a street, in a public square

instrumental, vocal, electro-acoustic sound sources
(produced in the studio or in real time)

selected works:
Klangzeit Wuppertal | Schweben und Hören mit einer Wuppertaler Schwebebahn |
Zeit-Klang-Landschaft Bad Berka 1993/94 | Glocken Requiem Dresden 1995 |
Klang Felsen Helgoland 1996 | Innenklang (für den Berliner Dom), 1997 |
Aussenklang-Innenklang Berlin & International (in Planung)

domain IV

as comprehension of cosmic and
seasonal processes

as celebration of the ancient human mysteries
conception - birth - fertility - death

as the rhythmic connectedness of human life
in the unity and tension of universal rhythms

the human being
in the unity and tension of heaven and earth
bound and free

Rhythm of the body Rhythm as the sound of the physis
Rhythm of the soul Sound as the rhythm of the psyche

mythical programmatic complex reduced in the extreme
to the archetypal

Percussive rhythms - life -
Danced rituals - life -

Performances under the respective suitable technical conditions

selected works:
TAUTOMER 1 for 3 percussionists
no specific realizations thus far

domain V

The space of music as hovering

dominated by the Apollonian or the Dionysian

instru . mental . vocal

concert hall music
from solo to orchestral
scores and voices predominantly in traditional notation

concerts, one-time performances, workshops

selected works:
suite | solo | rota | archei | son | mit acht tönen | auri-fragmente | Yukihara | moderabel | antonyme | rivolto | tautomer | transforma | stadien | axial | intars 2138 | innenklang


domain VI

the plays of musical combinations
on the basis of chance and rules

spontaneously made linear interpretations
of previously conceived non-linear rules,
interaction between musicians directed by hearing

Playing proceeds without predetermination of the musical sequences,
controlled by acoustic signs designating variations,
rules to be learned by heart

free variation and interconnection
of the musical textures, modes, elements
in accordance with the rules and given patterns

musical logic as free unfolding
of integral sensibility,
transforming and renewing itself spontaneously
as an organismic system of vibrations

spatial positioning of the performers

time as the space for the dynamic processes
of the integral interaction of the parts

instrumental . vocal . electro-acoustic

selected works:
Kreisspiel 2 | Circulum | Gleich den Vögeln | Perio | Variationen 1 | Variationen 2 | Würfelspiel 1, 2,

domain VII

universal archetypally based - play
as the transcultural integration of the universal mental structure of world cultures
in acoustic and optical realization

as non-verbal communication between players
(from amateur to master) of the most varied provenance

time as space for the execution of play (unlimited)
predetermined and spontaneous elements in unity and tension;
rules and material as the framing conditions
for the activity of the player

not victory or defeat, but rather
the interaction of parts - regulated and incidental -
to form an organismic whole

instrumental - vocal - electro-acoustic
optical - acoustic - computer-driven

Approaching the fulfillment of ideal desire
for wholeness and for the holistic functioning of parts

collaboration with science and technology
for the discovery and invention of play
and special electronic instruments

in the public sphere, in the concert hall
or to play at home

professional play as a societal event
regional, continental, intercontinental

broadcasting over suitable media
links over satellite or the internet

selected works:
ARIA - 7 Sopranos and 7 Soundscapes from 7 Continents