The music and performance project Sound Of Difference, developed by the composer Maya Dunietz and the soloist ensemble Kaleidoskop, works with acoustic drones that make microtonal frictions audible and tangible and are generated live by string instruments. The result is a constantly changing sound that shifts from unity to complexity, from organisation to anarchy: an expansion of the boundary between detachment and taming of sounds.

The music and performance project Sound Of Difference, developed by the composer Maya Dunietz and the soloist ensemble Kaleidoskop, is an artistic exploration of new sonic and performative dimensions: Acoustic drones and soundscapes that are constantly in motion and make beats, microtonal friction and pulsating rhythms audible and tangible. The result is a permanently changing sound that shifts from unity to complexity, from organisation to anarchy: an expansion of the boundary between detachment and taming of sounds.

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Dunietz and Kaleidoskop invite different guest musicians to each performance, who give the compositions a new colour and diversify the sound. In Berlin, they work together with WhatWhy Art from Seoul, a four-piece ensemble for contemporary music on traditional Korean instruments. Kaleidoskop has been collaborating with WhatWhy Art for many years. Most recently, the two ensembles explored various musical issues centred around the connection and difference between their cultural affiliations under the title Trembling.

In Sound Of Difference, they explore a special sonic dimension together: the sounds create tonal frictions and subtly pulsating rhythms that are constantly moving and changing. The seemingly static drones never sound the same for a second, but move towards or away from each other in an endless search for balance. It is a game of proximity and distance, of attraction and repulsion. The sounds, which are close to each other in terms of frequency, begin to vibrate together, suddenly and clearly audible through wild, synchronised, shared pulses. These moments of shared pulsation, which always unfold unexpectedly, are extremely fragile and fleeting, a sound that can be heard all over the body. The musicians position themselves at different points in the room, thus dissolving the frontal performance situation. The audience is invited to approach the performers and follow them.

Dunietz, Kaleidoskop and WhatWhy Art create a complex and ambivalent environment of slow gestures and changing pitches. The performers become a many-headed organism, a swarm that moves without a leader or score.