Tobias Euler, Thies My nther, Veit Sp reng er: Moon Machine, Landing (EN)Kunsthalle Münster Kunsthalle Münster, Hafenweg 28, 5. Stock, 48155 Münster Opening: 9.2.2020, 4 pm Opening hours: Tue – Sun 12 – 6 pm Wendela-Beate Vilhajlmsson, Mayor City of Münster (Greeting) www.kunsthalle.muenster.de Merle Radtke, Director Kunsthalle Münster (Introduction) Thies Mynther + Veit Sprenger (Concert) An Institution of the: Accompanying programme: → 23.2.2020, 2 pm, Kunsthalle Münster Based on the production Moondogging. A coproduction by This Machine Kills and the Theater im Anne Büssgen offers a guided tour through the exhibition. For people Pumpenhaus Münster. Supported by the Fonds Darstellende Künste. with and without a visual impairment The programme of the Kunsthalle Münster is supported by the Friends of the Kunsthalle Münster. → 1.3.2020, 2 pm, Kunsthalle Münster today. A conversation with Wolfgang Gnida about the work in the archive. → 20.3.2020, 6 pm, Kunsthalle Münster Anne Büssgen offers a guided tour through the exhibition. For people with and without a visual impairment → 8.4.2020, 6.30 pm, Kunsthalle Münster Listening to the MOON. Tobias Levin + Michaela Melián listen to music from Moondog → 17.4.2020, 7 pm, Kunsthalle Münster Thies My nther + Veit Sp renger (Concert) → 18.4.2020, 12 pm, Kunsthalle Münster Artist talk with Tobias Euler, Thies My nther + Veit Sp renger

Colophon: Director Kunsthalle Münster: Merle Radtke / Curator of the Exhibition: Merle Radtke / Compositions: Moondog / Concept, Text, Further Songs: Thies Mynther, Veit Sprenger / Mechatronic Instruments + Installation: Tobias Euler / Constructions: Meik Bauer, Friedrich Bertram, Rainer Holthues, Fred von Oettingen, Hans Salomon / Lenders: Wolfgang Gnida (www.moondogscorner.de), Norbert Nowotsch, Artist’s estate of Louis Hardin, also known as “Moondog”, represented by the executor and lawyer Alexander Duve, Berlin / Media Work: Artefakt Kulturkonzepte / Design: JMMP – Julian Mader, Max Prediger / Editing: Merle Radtke / Translation: Barbara Lang (EN) / Technical Execution: Christian Geißler / Education: Anne Büssgen / Thanks: Holger Bergmann, Georg Bloch- mann, Alexander Duve, Wolfgang Gnida, Hawerkamp 31 e.V., Tobias Levin, Michaela Melián, Norbert Nowotsch, Anja Quickert, Rajah Rajasinghm, Doris Rüter, Ludger Schnieder, Christiane Schöpper, Ludwig Sommer, Cory Tamler, Sandra Trostel, Till Wyler About Moondog Up until the early 1970s he was usually to be found on the corner of 6th Ave. and 54th St., where he would recite his self-penned poems and Moondog (1916 – 1999), who was active as a street artist, mobile poet present compositions with the drum or zither, and sell them, printed on and instrument maker in both the USA and in Germany, remains a major leaflets, to passers-by in order to get by. His remarkable appearance, influence in the field of contemporary art, or rather music, to this day. even by New York standards, soon made him a popular sight to see. He Born in 1916 as Louis Thomas Hardin in Marysville in the Midwest, he did not always have a home at the time and sometimes had to sleep on grew up as the son of an itinerant preacher. As a child he came in contact the streets. But to him this proved to be a suitable platform: the city with with the American indigenous culture, with their music and their myths. its sounds of everyday life provided him with the right setting for his songs Fascinated by the sound of the drums, he started learning to play them and short percussion pieces. This is how he discovered for himself the himself. At the age of sixteen he went blind from an accident. Confronted sound spheres of the city and nature as an inspiring musical moment. with European Baroque music at the blind school in Iowa, he decided Every now and then Moondog could celebrate small successes with his to become a musician and — a life project that the autodidact music. In the mid-50s, two LPs were released with compositions oriented pursued with an astounding self-empowerment until he reached inter- on . With he made a record with children’s songs. Two national fame. He learned to play several instruments like the violin, viola, LPs with symphonies and madrigals were released at the end of the piano and organ. He delved into music theory and studied choral singing, 1960s. Yet despite such sporadic recognition, a real breakthrough never harmonic theory and learned to use Braille. He perfected his ear to such actually occurred, obliging him continually to return to his corner on 6th an extent that he could convert musical ideas directly from memory into Avenue to sell his poems and records. Braille. Nearly all his compositions were written virtually without using In 1974 Moondog had suddenly disappeared from Manhattan. He an instrument. had accepted an invitation for two concerts from the radio station Hes- In 1943 he went to New York, where he became widely known as the sischer Rundfunk in Germany and did not return to the US afterwards. Viking of the 6th Avenue, in view of his unusual clothing: “I had begun to His nomadic lifestyle, from the mid-1970s on, led the American artist read Edda. I was in search of my own identity, and I found them in the first to Hamburg, next to Hanover and then to Recklinghausen, where he sagas.” From then on he would be seen with a bushy beard, a horned was approached by the student Ilona Goebel. She invited Moondog to helmet, a spear and a long cloak, roaming the streets of New York where her parent’s house in the neighbouring town Oer-Erkenschwick, where he also met different musicians. “I arrived there in the fall of 1943. Already she took him under her wing. Her home became what he used to call his three weeks later I had met the director of the “composer’s paradise”. Ilona gave up her studies, learned to transcribe Orchestra. Artur Rodzinski allowed me to attend all rehearsals.” For the his compositions from Braille and founded the music publishing company next five years he thus went to the Carnegie Hall almost daily, listened Managarm, where all Moondog works have been published since. The to the music, became acquainted with famous solo artists, directors and Bochum-based label Kopf Records brought out three newly produced , and made his first attempts at composing himself. On the LPs in the late 1970s. streets he met one day, who apparently came up to him Moondog wrote and published fifty symphonies, works for choir and and said, “You and I should make a record.” But due to Parker’s death, the orchestra, wind quartets and an extensive collection of piano pieces. music world was denied a joint record by the two artists. However, other His artistic practice was committed strictly to the traditional approach significant artistic encounters took place: Moondog once gave a concert to music and composition: “I rebel against the rebels.” This applied with Charles Mingus at the Whitney Museum; with Allen Ginsberg he held especially to classical tonality and the counterpoint — the core of com- a poetry reading at a different venue. position since the Middle Ages or the Renaissance, respectively — whose

4 5 principles he raised to the non plus ultra of music: “Beethoven, Haydn, Mozart follow the rules sometimes. I follow them always. Note against note.” He nonetheless established his own unique style. A style formed by techniques of composition that were old and fundamental, but he used them unlike any other had before, giving them new validity for the present: “What I am interested in is structure, melody, form, development. I followed the old classical values — the art of concealing art, maximum effect through a minimum of means, logical subject development, and not just constant repetition.” The closed form of the canon, the perfectly arranged counterpoint and the couplet were Moondog’s preferred forms of expression: “There is something in my nature that thrives best in the strictest of forms. And music in its strictest form is the canon. Poetry at its strictest is the couplet. These two forms correspond to me most as they give me a certain ‘freedom in bondage’. The strict form serves as limita- tion, and within these boundaries I have freedom. Now, other composers will object that if they were to write within the confines of a strict form, then they would not be free. Then again, I don’t feel free when I’m not able to use a form.” The way Moondog employed classical techniques generally led to audibly unclassical results: particularly through his self-invented instruments — the legendary triangular rhythm instrument Trimba or the Dragon’s Teeth — and their rhythmic idiosyncrasies influenced by American Indian cultures. Berthold Klostermann wrote about Moondog’s music: “Indeed, the most peculiar thing about his works is their rhythm. Whether songs or orchestral pieces, canons or chaconnes, madrigals or suites — they are always underlaid with distinctive percussion rhythms which the master himself drummed out in a kind of not actually swing- ing but nearly Jazz beat. This was always mixed with traditional Indian rhythms that Moondog heard as a child when he accompanied his father, an itinerant preacher on missionary works, while visiting the Indian res- ervations in Wyoming.” His stylistic versatility made him a cult figure both for the contemporary pop and the orchestral New Music scene. Owing to Moondog’s special fusion of a compositional style music-historically rooted in high culture, avant-gardist rhythms and melodies of almost therapeutic quality, his work has impacted generations of musicians. For the last years of his life, he finally moved to Münster, where he lived until his death and where he was buried at the central cemetery. Merle Radtke, Translation: Barbara Lang

6 7 Moon Machine, Landing Beat Le Mot, which Thies composed the music for. Then, for our cycle Merle Radtke in Conversation with Tobias Euler, Gefühle (Feelings), he was on stage with us for the first time. Before the Thies My nther and Veit Sp renger shows, the two of us would always warm up together on the piano; this was so much fun that we decided to develop our own music theatre pro- 2019 was the 20th death anniversary of the exceptional musician Louis ject. The result was This Machine Kills, a performance musical about Thomas Hardin aka. Moondog. The blind composer, poet and music the- the real and imaginary story of the strange music furniture, the piano, orist was an important figure in the counterculture of the 1960s and -70s. which actually is much too heavy for an instrument. Our shared love for Moondog, also known as Viking of the 6th Avenue, was active both in the Moondog’s music was more of discovery on the side. USA and in Germany as a street artist, mobile poet and instrument maker and has exerted substantial influence on contemporary art until today. TM At the outset, we just wanted to play a little music together, but I Departing from Moondog’s works, the composer Thies Mynther guess we are too much of conceptualists after all. Anyway, we ended up and theatre maker Veit Sprenger in collaboration with the visual artist with a huge sculpture made up of about twelve deconstructed pianos as Tobias Euler have created an interventionist music machine. The Moon a stage setting by Alex Murray-Leslie, along with elaborate videos by the Machine — a mobile sound system, a bricolage consisting of pneumatic filmmaker Sandra Trostel. Additionally, we had Barbara Morgenstern’s instruments and mechatronic sound automats, sun shades, bugles and Chor der Kulturen der Welt (Choir of World Cultures) as guests and, with acoustic collision warning devices — was first put into operation at the Ithea Koch and Dasniya Sommer, two further performers. international festival Flurstücke in Münster in June 2019. The artists toured the streets of Münster with it for several days, exploring the world VS For Moondogging we therefore sought to develop a smaller format that of Moondog based on a selection of his compositions, along with own is more flexible and easier to tour with. This is how we came up with the melodies and poems, and by experimenting with his inventions such construction of the Moon Machine, which functions after the “hit and run” as the Trimba or the Dragon’s Teeth. In the exhibition at the Kunsthalle principle: place it, make music, take off. In this sense, Moondog was a good Münster, the trio is continuing the interdisciplinary project at the interface anchor for two reasons: for one thing he had started out as a street musi- of music, theatre and visual art. In the course of the show, the Moon cian himself and worked according to similar principles, and then he was Machine evolves into a full-fledged polyphonic installation, extending also an artist to whom music, text, object, action and life were inextricably itself, throwing off tentacles. linked together. This is clearly a performative approach that interests me.

MR After your production This Machine Kills – Hidden Tales of the Rev- TM All is loneliness here for me, loneliness here for me, loneliness… olutionary Piano, staged in 2018 at the HAU (Hebbel am Ufer) in Berlin, Moondogging is already your second collaboration, now to be continued VS Based on the invitation by the Theater im Pumpenhaus to develop at the Kunsthalle. What brought this collaboration about and what form a production for the Flurstücke festival and the fact that in September does it take? And what is it that interests you in the combination of music, 2019 was the twentieth anniversary of Moondog’s death, there suddenly theatre and visual art? were concrete occasions and possibilities to realize the project. Tobias Euler, whom I knew from earlier theatre productions but had lost sight VS I met Thies ten years ago when we were working together on various of for some time, was immediately enthused about the project and has theatre pieces and performance projects. In 2009 we developed a piece contributed to it considerably with his self-built instruments. He is the about the Anabaptists of Münster with my performance group Showcase one who breathed pneumatic life into the whole construction, so to speak.

8 9 MR Tobias plays an important role for the presentation at the Kunsthalle, from this whole complex, it is also the fact that his music is equally multi- as the Moon Machine was expanded by numerous objects and thereby faceted and simple, something that has always fascinated me personally. has gained in complexity, which in turn has an influence on the music. Especially in Moondog’s late work there are a few music-theoretical approaches that have become score yet are hardly perceived as such, TE The interplay between the machine, or the many objects in the space, like the piece Overtone Continuum, which I have delved into in the scope with the music is an important aspect of this exhibition and actually stands of this exhibition. for precisely what fascinates me in the combination of music, theatre and visual art: the multidimensional, dynamic process which, at the moment MR In June 2019 you performed with the Moon Machine in the streets of of interaction, brings forth new forms of expression. While the visual arts, Münster’s inner city for several days, now the machine has landed in the such as painting, often contain static or controlled aspects, here, the Kunsthalle. What has changed compared to Moondogging, the mobile results are more open. version on the street? And what does it mean for you to be working in an exhibition space in contrast to public space, which the Moon Machine was MR Moondog has influenced musicians as diverse as T. Rex, Prefab originally designed for? And, from your perspective, what is the difference Sprout, , , , Laurie between the exhibition situation compared with the stage and the theatre? Anderson, Frank Zappa, or CocoRosie. How did you come across Moon- dog’s musical work, and what interests you in this person and his oeuvre? TM The public part of the whole endeavour was also an experiment for us: what happens when, as in 2019, you hit the public space in clothes TM What fascinates me is his idiosyncratic understanding of the coun- that seem to have an apparently anachronistic attire, with the same kind terpoint, rhythm and text poetics, which perhaps feeds on the strange of peculiar music, thus exposing yourself to the unfiltered “economy of tension in his way of life. For decades, before he was truly recognized perception” of a pedestrian shopping zone. What impression is con- as a composer, he was out on the streets in New York with this rather veyed? Who shakes with laughter, who shudders in disgust? It is surely peculiar art and had to catch the interest of the passers-by to where they something different than playing in the protective space of an exhibition would finance his living with their pennies. The consistency with which hall or a theatre stage. But that’s what it was all about: exposing your- he nonetheless pursued his approach over about fifty years of work and self without armour to this “What does he look like?”, and then to feel which he refined without resorting to self-copying is very impressive to how it works to simply claim something. For me, it also felt like a kind of me. I believe this is also one of the reasons why he became a Musician’s emotional feedback of old Streetpunk times. Now, within the relatively Musician, meaning a name that musicians like to cite as an influence. safe space of art communication, the challenges are much more delicate, That is something of fundamental interest about this mythological fig- simply because we are able to act in a more low-threshold atmosphere ure of a maverick, as Philip Glass called such figures in connection with and can expect a more-informed perceptive attitude. Moondog: what is relevancy based on? Is it brilliance, or persistency? How does someone turn from a curiosity into an object of fascination, to VS I am actually somewhat sceptical when it comes to art in public finally become a driving force? John Cage has a very similar history of space, especially regarding street art. It can indeed be experienced as perception. I think that such shifts in perception have always relied on the obtrusive when something is presented to passers-by that they may not basic principle of passing on special knowledge – in the sense of “look want to hear or see; it also can easily be associated with advertisement, what I have discovered here”. So, this is also how I ended up listening to which functions the same way. During our performances in the streets of Moondog in the tour bus in the 90s and coming to love his work. But aside Münster, however, I noticed that the most beautifully strange moments

10 11 occurred in the silence between the short concerts. This is when really various eras as a spiritual analogy to the shamanistic dimension in Moon- shy and friendly people would often come up to us and ask what we dog’s music. This dimension is also expressed by percussion instruments were doing there. Those were the moments when the object as such, such as shakers, rattles or the tambourine as rhythmic-repetitive ele- the Moon Machine, generated a completely different effect than that of a ments. Even the dreariness of Sixth Avenue, with wind and rain, where music machine. It became a sculpture — an alien element, quarried from Moondog had his spot during his time as a street musician in New York, everyday life, which the people could walk around and explore as they can be experienced in this construction. The instruments thus not only pleased. When the thing would finally start to make noise, it was as if a bear references to Moondog’s musical work, but also to the environment mystery had been solved — a joyful realization, so to speak, but also a in which his music developed. disenchantment. It was the combination of these very different qualities of the object, of the action and finally of the music that constituted the overall MR And what does the hourglass signify that you’ve employed both for event. In this respect, the artificiality of the exhibition space is favourable Moondogging and now for the Kunsthalle? to the Moon Machine. It enhances its sculptural aspect and in this sense honours it. Which again reminds of Moondog who, while present on the VS Several associations are possible: there is, for instance, the memento streets, didn’t always make music but instead just stood around silently, mori of the Baroque — Moondog was a great explorer of the European in his Viking’s outfit, and was gazed at in amazement or talked to by baroque music. Besides, pirates would sew the hourglass symbol onto people. Gertrude Stein’s phrase “Generally speaking, everyone is more their black flags, reminding the merchants they intended to capture that interesting doing nothing than doing anything” also pertains to this object. their time was running out. Actually, the Moon Machine is also something like a ship. Then, of course, you have the literal “sand in the gears”, the MR Partly, at least. On the one hand, the machine is an object — a static basic functional principle of the hourglass. On the aesthetic-performative entity which one approaches. On the other hand, it starts playing all by level, it illustrates the fact that time does not simply pass; instead, the glass itself — prior to the exhibition we always spoke of the “self-tests” that must always be turned around. Time is therefore not something absolute, the machine runs, making it an actor that causes the different instru- existing beyond human influence, but underlies manipulation. A kind of ments to sound at regular intervals. … For the Moon Machine, you initially empowerment with respect to given physical circumstances. For one reverted to instruments developed by Moondog, such as the Trimba and of his films, Herbert Achternbusch invented the “Polizeit” (­TimePolice), the Dragon’s Teeth; in addition you employed the xylophone, violin, syn- officers who had to ensure that people didn’t do mischief with time. thesizer, flutes and computers. For the exhibition at the Kunsthalle, you supplement the latter through multiple other instruments, whereby the MR You will stage two concerts, one at the beginning and one toward “landed” Moon Machine grows into a complex sound installation. Which the end of the exhibition. Yet even for the duration of the exhibition the other instruments have you taken up or developed specifically for the machine by no means remains silent but, instead, becomes an actor exhibition? And how do they refer to the work of Moondog? itself. At regular intervals, some of the sequences you have composed will be heard. How must we imagine this music-wise? And how does it TE It’s about a growth process in which the Moon Machine reaches into work technically? the space and intermeshes itself with it to form a biotope. In other words, it’s about the interplay between the machine and the space as well as the TM Without going too deeply into technical details: there is a central relationships between the instruments. In the frame of the exhibition, the sequencer that sets all mechanical and mechatronic elements in the installation will be expanded by bass wood pipes from church organs of space into motion, triggering vibrations and twitches. It is supplemented

12 13 by a synthesizer and sampler patches. In our view, and based on Elpmas, interpretations of Moondog’s approach to writing and composition. It is a one of the late albums in which Moondog has dealt intensively with this wonderful challenge to integrate the tone of the couplets, the contrapun- technology and rated it as extremely useful for his musical approach, this tal interlockings, the uneven, syncopated rhythms into our own language is not necessarily contradictory to his analogue, rough sound aesthetics. apparatus, and then to see what comes out. Two digital EPs with the We are also planning a real-time back translation of his music into braille, nicest results will be available for the opening, by the way.1 the music notation that Moondog used for his pieces.

TE This complex method of composition is visualized by means of flip- dot displays, which are signs made up of electromechanical dot matrix display elements in the form of small discs with two different colours on each side. The discs are individually driven and can flip over accordingly. For the installation, thousands of these discs decipher the music and transfer it into analogue signals as braille dot patterns. Simultaneously, the mechanical rattling of the discs generates a new spatial tapestry of sound. During the exhibition the Moon Machine thus not only grows spatially but also interacts with the viewers — movement transforms into sound. Compared with the original composition for the Flurstücke, which had more of a concertante structure, the installation in the Kunsthalle is extended by a dynamic, integrative level which can give rise to an interplay between the machine and the visitor.

MR Which of Moondog’s compositions do you draw on for the exhibition project at the Kunsthalle? And what is your selection based on? Moreover, you are supplementing the repertoire by own compositions and poems. Could you say something about the development process?

TM To be honest, the selection of the pieces for our concert is based on performability and intuitive decisions of taste what will be heard are classics like Bird’s Lament, songs like Do Your Thing or New Amsterdam, canonical structures such as Westward Ho or the Heimdall Fanfare, con- trapuntal instrumentals like Marimba Mondo or one of his piano pieces. In the course of the exhibition we intend to rework one or two organ works and possibly a self-playing version of the orchestral score of the Overtune Continuum — or some other work deriving from the as yet bur- ied treasures of Moondog’s estate here in Münster, which we thankfully 1 The two EPs Moondogging I & II will be available on all major streaming platforms and at are able to access. Our own pieces are affectionate imitations and own Bandcamp https://bandcamp.com/.

14 15 Tobias Euler (born 1977) studied the liberal arts at the Bauhaus University After This Machine Kills – Hidden Tales of the Revolutionary Piano (Hebbel­ in Weimar, subsequent to his training as a wood sculptor and later as a am Ufer, Berlin), Moondogging is his second independent music theatre graphic designer. His scope of activities includes graphic design, illus- production with Veit Sprenger. tration, photography, interactive installations, mechatronics and music. In addition to various exhibitions Tobias Euler collaborated in theatre Veit Sp renger (born 1967) is a theatre maker, author and producer who productions and developed scenography concepts, interactive sound studied music in Hanover, medicine in Frankfurt a. M. and applied thea- objects and large-scale kinetic installations for productions of the theatre tre sciences in Gießen. He is founding member of the theatre group and performance group Showcase Beat Le Mot, the composer Santiago Showcase Beat Le Mot, with whom he has produced theatre pieces, Blaum and the director Tom Wolter (Theater Hebel am Ufer, Schauspiel performances, art actions and music videos since 1998. To date he has Frankfurt, Brut Wien, at the Residenz Theatre in Munich, FFT Düsseldorf produced more than forty theatre pieces, which were staged in sixteen and Gessnerallee in Zurich). In 2015 Tobias Euler founded the art and different countries. He was a member of the team of artistic directors culture site Jonny Knüppel in Berlin Kreuzberg and, as the manager and for the festival Agenda for Young Art in the Baltic Area, and of selection chairman of the association, oversaw the cultural and political activities and prize juries, such as for the theatre festivals UNART, Impulse and of the undertaking until April 2018. Westwind. He has taught at universities among others in Berlin, Ham- burg, Lübeck, Gießen, Zurich, Cologne, Oslo, Beijing, Athens/Ohio, New Thies My nther (born 1968) is a composer, copywriter, performer and pro- York, Stuttgart and Bern. In 2005 he published his book Despoten auf ducer. Since 1989 he has contributed to over a hundred album releases der Bühne – Die Inszenierung von Macht und ihre Abstürze (Despots on and played in more than a thousand concerts as a member of bands, Stage – Staging Power and its Crashes). Since 2018, together with the such as Phantom/Ghost, Stella or Das Bierbeben and in collaboration composer Thies Mynther, he has been working on music theatre pieces with Miss Kittin, Chicks On Speed or Dillon. Since the early 2000s he under the label This Machine Kills. has extended the focus of his activities to include sound design and compositions for films; since 2009 he has developed a new emphasis in the field of theatre. As a composer, musician, songwriter, musical director and performer, he has worked with a considerable number of directors, such as Nicolas Stemann, Sebastian Baumgarten, Bastian Kraft, Brit Bartkowiak and Josua Rösing, but also with performance groups like Showcase Beat Le Mot, where he got to know Veit Sprenger. He initiated cooperation projects with artists like Cosima von Bonin (as Phantom Ghost) or the Israeli producer/director Jason Danino Holt. He has wor- ked, among others, at the theatres Schauspielhaus and Kampnagel in Hamburg, the Deutsche Theater, the Haus der Berliner Festspiele, the Academy of Arts and the HAU in Berlin. In 2018 he contributed the music to Sandra Trostel’s film All Creatures Welcome and, together with the artist Tellavision, produced her new album Add Land. In November, in collaboration with the director Josua Rösing, he will stage a version of Franz Kafka’s The Metamorphosis at the Moskow Vachtangov Theatre. ­

16 17 1 Moon Machine 3 Orgelpfeifen / Organ pipes 7 Orgelpfeifen / Organ pipes Stahl, Holz, Leder, Schirme, Tücher, Drucke, Labialpfeifen Metall, PVC Schläuche, Labialpfeifen Holz, PVC Schläuche, Klammern, singende Säge, Violine, Mechatronik, Pneumatik / labial pipes metal, ­Mechatronik, Pneumatik / labial pipes wood, ­Synthesizer, Computer, Sanduhr, Shaker / PVC tubes, mechatronics, ­pneumatics PVC tubes, mechatronics, pneumatic steel, wood, leather, parasols, cloths, prints, 4 Blockflötenorgel / Flute organ 8 Flipdot-Braille-Display for the clips, musical saw, violin, synthesizer, 13 Blockflöten, Mecha­tronik, Magnetventile, Non-Visually Impaired computer, hourglass, shaker PVC Schläuche / 13 flutes, mecha-­ Flipdot Matrix Display, Elektronik / flipdot 2 Trimba tronics, magnetic valves, PVC tubes matrix display, electronic system Trimben, Shaker, Tamburin, Maracas, Clave, 5 Orgelpfeifen / Organ pipes 9 Vogelstimmen / Bird call Holz, Stahl, Ziegenhaut, Leder, Mechatronik, Labialpfeifen Holz, PVC Schläuche, verschiedene Wasservogelpfeifen, Pneumatik / trimbas, shaker, tambourine, ­Mechatronik, Pneumatik / labial pipes wood, ­Magnet­ventile, Elektronik, Pneumatik / maracas, clave, wood, steel, goat skin, PVC tubes, mechatronics, pneumatics several water bird pipes, magnetic valves leather, mechatronics, pneumatics 6 Xylophon / Xylophone 2A Schamanentrommel / Shaman drum Holz, Stahl, Mechatronik / wood, steel, Holz, Stahl, Ziegenhaut, Leder, Mechatronik, mechatronics Pneumatik / wood, steel, goat ­skin, leather, mechatronics, pneumatics