 We all know that in the musical notation we use five bars, five lines to notate the notes. Sometimes we add lines on top, above and under it. But a lot of sounds and a lot of notes can be read in between the lines, in between the bars. Think about the micro tonalities and about the noises. So our notation system that we are usually the musicians are working with and composers are working with is just a very strict notation of certain notes we agreed on in certain frequencies. My work between the bars are many more frequencies in between the bars. My notation system is new, but the working with graphical scores is not that new. Composers like Morten Feldman, John Cage, Earl Brown, Cynakis, Halbenstock, Ramati started to invent graphical scores from 1952 on up till now. They invented these graphical notation systems due to many reasons. One was to tear down the hierarchy between composer, conductor and musicians. Also to involve the musician into the process of making art. Also they adapted and included in their compositions music from, for example, China or India or from Mongolian and those music, the traditional music sometimes is, but mostly is not really notated, especially not notated the way we are notating music. It's also notated by oral history. Let me tell you something about the composition itself. So I asked Andre Ponsfordes to write a diary seven days long and he started on the 18th of January and the last day he was writing a diary was on the 24th of January. I asked him to categorize or to organize all his different activities during the day and during the week into four categories, sleeping, eating, working, free time. Each hour of the day is going to be transcribed into sound into 16 seconds of sound. That means that each day lasts about six minutes and 24 seconds and the whole composition punctually ends at 44 minutes and 48 seconds. So Andre writes a very strict lock book diary. First, that's one layer of his diary. So when do I get up? When do I want to bet? When am I preparing food? When am I meeting? When am I teaching? When am I working? When am I having free time? And then the second player is how did I experience this activity? Because I give each category a very specific playing material. For example, all his moments where he was preparing food and eating are played by either Coligno. That's when you hit with the bow, the wooden part of the bow on the strings. That's the Coligno part where he's preparing the food. When he is eating the food, he is playing pizzicati, that are plucked strings. At the end, though, for Stryken is a portrait. It's also a self-portrait because what Andre is going to play today, starting with the diary, his writing of the diary, ending with the performance of the diary after my structured improvisation is a self-portrait. I give him an indication in which direction he should play. But at the end, he is the one who will perform and he is the one who portrays himself. I'm using his daily life that is transcribed in a musical rhythm. So the daily life rhythm of Andre Ponsfaldes is transcribed into a musical rhythm. I'm very much interested in the unexpected. And those unexpected moments, that's the improvisational part in music as well that I'm working with. And it's now part of the composition.