| # | Title |
Year of Origin |
Duration | Instrumentation | Category |
|---|---|---|---|---|---|
| 1 | Yale o' Vanity Fairy Tale - Hörspiel | 1995 | Radiophony/Radio Play Music | ||
| 2 | ... Und Alle Engel Sind Schrecklich ... - nach Rilke "Der Zar" | 1994 | 24m 20s | ||
| 3 | Daubed Elegy In Capital Letters - music for the film | 1993 | 13m 52s | Soundtrack | |
| 4 | C.I.M. | 1992 | 20m | Electronic Music | |
| 5 | C.I.M., Empty Frame | 1991 | 6h | Electronic Music | |
| 6 | PileTheBodiesBloodstainedRosesinTheDawn | 1991 | 11m 13s | Electronic Music | |
| 7 | Installmusic | 1988 | 1h | Electronic Music | |
| 8 | Transformance for Cello, Tape and Crane - Funeral | 1988 | 31m | ||
| 9 | La Belle Endormie Sacre II | 1988 | 20m | ||
| 10 | La Belle Endormie | 1987 | 13m | Electronic Music | |
| 11 | Noman'sLandSurroundChiffresOfLostMemories | 1987 - 1991 | 44m 53s | Electronic Music | |
| 12 | Caccia ... wie wirbelte das Tote Meer die sternenlose Nacht heran ... - Hommage an Machetti | 1986 | 1h | Electronic Music |
| Period | Education | Instrument | Teacher | Education Organisation | Location |
|---|---|---|---|---|---|
|
1976
|
University of Agricultural Sciences: landscape design | ||||
|
1983
|
electro acoustics | ||||
|
1983
|
experimental music | ||||
|
1988
|
music and communication science |
| Period | Activity | Organisation | Location |
|---|---|---|---|
|
work in mixed media (experimental-film/video/sound/performance) | |||
|
performances as a cellist |
| Period | Performance | Composition | Organisation | Location |
|---|---|---|---|---|
|
1986
|
M.I.N.O.S.6 | |||
|
1988
|
Kunststück Farbe Berlin | |||
|
60 Days Museum of the 21st Century Vienna | ||||
|
European Media Art Festival Osnabrück | ||||
|
International Festival of Animation Films Stuttgart | ||||
|
Junge Szene Wien: Sonatra 21 und Damenmord | ||||
|
K.E. Osthaus Museum Hagen | ||||
|
Z.A.K.O.6 | ||||
"My compositions can most likely be described as flying blurry sonic landscapes; the multiple use of infinite loops, parallel universes always touching each other - each with its typical sound pattern and colour. The fine, apparently audible networks arise in the memories - curved spaces - leaning out and feeling in invisible worlds - travel. The almost classical instrumentation of the original material (cello, saxophone, gong, piano loops), the rhythmic structure mutates from the combination of sounds of my environment into the more playful electronic process of the approach up to the deciphering along the personal pain barrier."
(Merit Aton, 1994)