Presence
Arrange music, starting with silence.
Silence is physical.
Reactions - not in an improvisatory sense but as an "open, mobile" compositional work (U. Eco) which transcends the dialectics of
determined / undetermined composition and positions individual inventive playing techniques and group presence.
The ensemble sound follows a trio-specific sound aesthetic that develops.

Instead of a systematic creation that results in an object/product,
the reproduction of an unrepeatable entity occurs.
Individual playing styles and subjective processes of music development emerge. Man is the system. Individual biographies act as specific music history. An appropriation.

The traditional timbre of the instrument represents a link to history.
The trio thus plays with the metamorphosis from preparation and advanced playing techniques to electronic deformation in such a way that in the transitions the delimitation between pure acoustic play and electronics blurs.

A ‘morphic’ creation reveals clear structures: the entirety of the music always refers to minute parts so that the development is not one of constant flow, but instead one of blocks, sections whose intensities may increase to possibly ecstatic / aggressive effects while also collapsing into silence or previously inaudible material.

This approach does not aim to force unambiguity;
music remains metaphysically abstract.
The sense of time alters; individual, interpretable contents are developed.
While the postulation of comprehensibility lends some structure, musical comprehension and the interpretation of musical structures are passed on to the listener, who forms an integrative component of the performance.
Possibilities are increased – yes, augment the possibilities!