“The things around us speak like housings that make something sound, like musical instruments…” wrote Jacob Böhme in 1622 in his work De signatura rerum.
While working on a performance-installation (doublelucky productions) at the former Leipzig Cotton Mill (founded in 1884 and at the time the largest cotton mill in continental Europe), I began experimenting with the sound of the supporting cast-iron columns that ran through all floors of the building. Each of these iron columns has its own sound signature, which consists of a fundamental frequency (keynote) and the distribution of a series of overtones or partials (sound spectrum). These spectral properties and patterns determine the unmistakable timbre and unique sound quality and serve as the foundation for the composition Weben (Weave) Song — they are the elementary sonic building blocks from which the composition is derived.
Fine overlapping spectral fabrics and rhythmic beat patterns unfold over time, weaving ever-new structures.