This new work-phase entitled “klangfarben” (2006-07), is based on the 11-d hypercube. The work itself consists of two square LCD screens, a computer and my own custom software. The structure of the 11-d hypercube contains a graphic repertoire of an unimaginable 40 Billion possible “diagonal-paths”. (A diagonal is the connection between two opposite points in the structure of a hypercube. “Diagonal-paths” are all the combinatorial possibilities of connecting two such opposite points through the network of the 11-d hypercube passing through each dimension once). From this repertoire four sets of eleven diagonal-paths with three distinct line widths are chosen as basic elements for each work. Every time this screen work is switched on, one out of the four sets are randomly chosen. The right screen shows a graphic construct consisting of 2 to 10 diagonal paths rotating in slow motion and all colors change randomly every 10 seconds. Single diagonal-paths fade in or out during the color changes in a cyclic but random order so that the back most diagonal-path always moves to the front. The last image, before each color change, is sent from the right screen to the left screen and stays there until the following image is received 10 seconds later. The moving image on the right screen shows, so to speak, the making of a sign and the receiving left screen shows a fixed and therefore contemplative sign. Both screen-images should not be seen simultaneously but observed independently. The screens are therefore presented in a 90 degree angle to each other, so that the observer is encouraged to choose one or the other event. The underlying logic of this work is similar to the rules of “serial music” in which each element of a series of elements has to appear at least once before the series can be repeated. The reference to “klangfarben”, refers to a composition technique of playing one musical note but constantly changing the instrument which plays that note. A subtle sound modulation or “klangfarbemelodie” appears because of the inherent differences in upper and lower frequencies which create the character of each musical instrument. The random modulation of colors on each diagonal-path render exactly that subtle quality to my work.