JUNKYARD ACOUSTICS is an ongoing project of musical performances, pieces, instruments, sculptures, videos and recordings. all of the works are conceived for junk, e.g. cheap instruments often made from plastic, that were originally designed as children's toys; as well as a variety of self-built digital and analog audio-processors, other obsolete electronics from past decades, such as CRT TV-monitors, overhead projectors and FM radios, and just overall junk.
at the heart of this work are 3 concepts:

A – "low-budget, low-fidelity, low-tech": breaking through the financial

                                          barrier of entry that so many

                                          contemporary music practices have

                                          put up through expensive

                                          technical requirements and a

                                          strong emphasis on institutional

                                          education
B – "DIY" (do-it-yourself)              : constructing things yourself to

                                          cut costs, learn valuable skills

                                          and be less reliant on

                                          corporations and consumer

                                          products
C – "accessibility"                     : both the performances as well as

                                          the self-built components don't

                                          require any knowledge of musical

                                          notation or theory, electrical

                                          engineering, programming or

                                          amplification

THE MOTIVATION BEHIND this project is twofold. firstly, i want to find a poetic and creative way to counter the unspoken premise that contemporary music performance is tied to having some arcane (academic) knowledge of sound production and music theory, which is passed down within institutions by people of exceptional importance, and that the "proper" process of learning an instrument is somehow already mapped out for you in the form of universalized methods and exercises, instead of being a wonderfully naive, experimental and incredibly physical experience of making sound in a feedback loop between your body and the instrument.
secondly, i want to undermine the fact that instrumental performance is still tied to an economic barrier – i.e. the cost of buying and maintaining traditional instruments, affording instrumental lessons with a teacher, making time for methodical practice etc. – and offer a radical view where instruments are literally seen as "things that make sound"; things you can build on your own on a low budget, and that you can learn to play by intuitively investigating the ways in which your body connects with the instrument, and your ears perceive and imagine its sound.