Since mid-1999 I have been working on an expanded concept of musical space not only incorporating space according to its spatial characteristics in the narrow sense (acoustic, architectonic, sculptural, perspective and ambient). Beyond this my installation works conceive of space in its site-specificity, usually existing in several layers: a social layer, a historical-political layer and a situational layer. This concept of space is thus not limited to interior spaces and architectonic-formal relationships, a position which naturally also defines my working methods: only subjective, on-site research yields the theme and concept of an installation. I call such installations sound situations, following the ‘conscious creation of situations’ conceived by Guy Debord (International Situationists) in the 1950s. This means first that I open myself up to situations – usually in public spaces – in order to sense their site-specific tensions and to draw them out in all their possible relationships. Secondly, I alter these situations in order to make them more dense through intensification. The concept can be defined as articulating the space, the site; for this reason I prefer to work with site-specific acoustic and visual material found at the site, but also introduce foreign material when it serves to reinforce communication with the site and its occupants and visitors.