before the exhibition took place. During a session that lasted several hours, I recorded all the sounds that I heard, meaning all the exterior sounds, since there was no exhibition activity at that time and the space was relatively quiet. There are no windows in the walls, only small, high windows; and the outside noises entered the space through these windows. It’s actually a beautiful atmosphere – rather like standing on the bottom of a swimming pool. I was given the spatial dimensions and established a tempo based on its length. I also measured the speed of sound at a specific temperature, and from that I calculated the tempo for my piece. That’s how I managed to get so many small sounds: bits and pieces that constantly crisscrossed. The speed of sound, with the feedback, produced an intense spatial experience. With the help of a microphone, massive loud speaker, and a sine-tone oscillator, I then measured the spatial resonance. After forming the loops of feedback, I developed a small melody from the frequencies the space resonated.

DD: That’s a procedure similar to Lucier’s.

RL: True. In my case, though, there’s no conceptual superstructure.

DD: But it is a completely different approach from the one used for «Kölner Brett,» which concerns a kind of structural thinking and modular system, and where the actual space never appears as a sound or resonance body in the music. Like it did in Münster.

RL: Well, it didn’t appear in Münster either. The space, so to speak, formed the music.

DD: I see. Then both methods were ways of transposing spatially or architecturally-formed sound, but executed each time in a different manner.

RL: There’s no one way or technology for making a production. You don’t have any set rules. Each case calls for a special approach. That also includes the discussions with people who commission the work, and with curators. Question from the audience: Is there an actual extending of space, a transforming of exterior into interior space?

RL: Yes. At best, the walls act unsound and the exterior space is heard inside the interior one. I often work with rapid breaks in the sounds. The interior and exterior spaces are juxtaposed with hard cuts. In each and every case, what listeners or viewers experience causes a chain of associations. I’ve come to realize