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Boundaries, limits have always been fascinating terms for me, right from the start.
Because when you start exploring them - especially in my visual work,
I try to explore how we perceive things, what is perception?
At which point do we stop perceiving certain things?
Where do images- how are images actually produced in our brains,
how are they turned around, where does the eye get less accurate,
and where do we see colours even though no colours are there?
Those have always been interesting questions forme.
The same with sound.
Very high frequencies, very low frequencies,
how do they actually work?
How do we perceive them?
That's very very exciting to me.
And these boundaries, they're still very important to me.
Even though the musical products, the stuff l'm making now,
is catchier that my early experiments.
But the knowledge of these limits and boundaries, it's always there, in the background.
This is a posterfor the exhibition in lnnsbruck, it is in decembre.
And it is not just a poster it is in the same time Wallpaper
A whole room will be decorated with it.
We cut the part with the script
and then we have a kind of op-art effect on a huge area which is around 18m long!
Science really is an interesting topic.
And a great source of inspiration, because you try to always take new paths.
When it comes to the music l'm creating,
I try to choose a certain kind of sound aesthetics which cannot be described as retro,
which rather tries to look ahead.
ln this context, scientific research and results are always a big inspiration.
When you're reading something about CERN in Switzerland for example,
about particles, like which are the world's smallest particles.
These are great ideas and sources of inspiration for me.
What is also fantastic is for example when you realize
that sound is not just the musical spectrum as we conceive it,
it can achieve so much more.
ln the 20s, there were washing machines - sound can produce energy,
there are phenomenons like small light bubbles, which is called sonoluminescence.
These scientific phenomenons still cannot be explained,
as to why they exist and how they happen.
But all these are phenomenons connected to sound,
and they're fantastic and interesting to me.
There are these great ideas, which always are sources of inspiration to me, to a certain extent.
When l'm working on a track, most of the time I try to choose sounds
which are efficient, with a specific function.
Of course I try to find something which is very discernible
or which really performs its function,
because you're trying to use as little elements as possible.
So you're testing each element three or four times.
And building these elements is actually what takes up most of the time.
lt takes forever to build these little sound elements.
lt's actually a big advantage that nowadays you can work on computers and what you can do with them.
The fact that you can instruct them so explicitly.
Remember tape machines, to be able to edit tapes was a great improvement,
to be able to cut up really small bits of sound.
But now we can edit in milliseconds.
You can draw the wave forms, you can - that's actually what l'm interested in:
to really work on the wave form.
Almost like a sculptor, drawing the wave form, extracting something.
Those are the great moments for me,
when you realize that you have all these strong singular elements,
and then they get together and it works.
What i actually like is this moment of coincidence,
these magic moments when things just happen.
That's quite important for musical productions.
I don't want to get anywhere with the audience, first of all I want to get somewhere with me.
it's me who has to like it, it's me who has to experience an impact.
That's the only criterion I have when l'm in the studio.
lt's a different thing altogether whether it has an impact on the outside world.
Most of the time, that's what you realize after publishing your stuff,
you wonder what the feedback is going to be like.
But first and foremost, you're producing a statement of yourself.
As an artist, you're egocentric, but that's okay.
Because that's the only criterion.
The only criterion of truth you have is yourself.
That's how you check whether something is good or not.
I believe that music which has been produced specifically for an audience
is very different from music with an actual personal element.