Album and audio-visual performance / installation (Dimensions variable)
Album concept
Following the formal rules of dodecaphony, for the album and audio-visual performance "Zwölftonform" twelve consecutive titles are composed exclusively with twelve consecutive frequencies. The basic structure for each title is made by up to twelve different sound samples from a previously generated simple sine waveform. Built on this basis, these arrangements reference and illustrate especially over time the complexity and increasing compression of the single original shape. This waveform is generated using the following convention:

The first track of the album — the title "Z" — contains all tones from a 75Hz sine wave whereas different timbres and pitches arise through various control, collaging and sample editing. The title "ZW" is built by adding up the first frequency (75Hz and 150Hz) and "ZWÖ" consequently consists of the frequencies 75Hz, 150Hz and 225 Hz. This sequence continues for the remaining titles by the same pattern whereas the start frequency is fixed arbitrarily and only follows the law of successive addition. This is derived from the twelve-tone row convention, whereby twelve consecutive tones of the chromatic scale are played sequentially but may never be repeated in this episode.
Following the serial character of the composition concept, the titles first were published during the four quarters of 2015 as a digital EP and at the beginning of 2016 as a complete physical release (Kasuga Records, kasuga014, 04.02.2016).

Audio tracks (extracts) ZWÖLFTONFOR, ZWÖLFTONFO, ZWÖLFTON and ZW:

Visual translation
(1) Consecutive visuals from the twelve sequences on album rear side / Album front side
For the visual translation and for exhibiting as a live performance and audio-visual installation, the sinusoidal waveform is abstracted and transferred along the album convention. Following parameterized principles, twelve visual embodiments of this basic shape arise. The increasing complexity is now visible and the prevailing simplicity at the beginning almost inverted by the end. This evolving aesthetic is punctuated with a dynamic grid, that divides the base with the value of the current sample number.

(2) Visual from the eighth sequence as A0 print
Live performance (3) Live performances at Festival de la Imágen, Manizales, Colombia, June 2017 (Photo by Carlos Pineda), at SuperDeluxe, Tokyo, February 2016 (Video by Christian Werner) and at Spektrum, Berlin, October 2016 (Photo by Aude François)
(4) Immersive installation at WASP, Bucharest, August 2016 (Photos by Ciprian Ciuclea)