With regard to all approaches, it becomes apparent how much the concept of a gradual process is important to the composition. In an experimental phase several gradual processes in nature were analysed (tree structures, the branching of vein systems, absorption of liquid with a sponge). These processes can be described fractally, they form fractal patterns.
The most promising are experiments with the process of crystallisation, since Edgar Varèse mentioned it as an analogy. Phenomenologically the short, hard sounds point to it, structuralistically the fractal order of the piece. For closer inspection of the structure of the crystal, an experiment was commenced to grow crystals. For this purpose, metallic salts, table salt and sugar were used in turn.
The areas that emerge from correlation lines of instruments and sounds can be understood as rhizomatic plateaus that extend into space and interconnect. The network can be regarded as a pure line, as an area, or, when a surface is added to the area, as a three-dimensional object.
While growing the crystals, at first an object was created which then was turned via photography into a perspective atmospheric depiction and then from this state further abstracted to vector lines. Through the documentation in photographic sequences, the idea of the real world object mutates to an abstract shape on paper. Therefore, the approach from the other direction is from the note to the line, to the line in space, to an area and then to an object. However, it is to be remembered that also while growing crystals, the idea for the crystal first manifested itself in phenomenological sketches.
The sequencing of pictures allows a different reception than the single, static image. The details of each single image slightly fade to the background and the objects shown are perceived as motion.