In recent decades, digital technology has accelerated the development of new musical instruments, not only establishing new techniques for creating sound but also enabling new performance practices. From the perspective of the performer, this has significantly broadened their possibility to express themselves, but through earlier experimentations it has become clear to me that audiences have problem comprehend such use of new musical instruments.

This exposition proposes a method of artistic research that uses (and disobediently misuses) techniques of reconstruction as a mode of performative, artistic, and architectural invention. Our speculative notion of reconstruction challenges inherited disciplinary notions of historiography and simultaneously functions as a propositional and generative tool. The exposition revolves around the discussion of a research and performance project entitled Jakob K., which reconstructs the works of fictional Bauhaus choreographer and gymnastics teacher Jakob Klenke (1874–1941).