“Beyond Striking” is a program that explores unique sound production through the most unlikely "instruments” with live electronics and robotics. Post-instrumentalism has been well represented globally, stemming from composers such as Cage and Globokar, and past PASICs are no exception. But there are extremes yet to be highlighted. This program centers around 3 seminal works by German composer Michael Maierhof (1956) from multiple decades of his catalog. In his works, conventional techniques are removed and replaced by friction as the main source of sound.

Splitting 4 (2000) scores for 16 kitchen objects, such as 2 pie tins, ice bowls, plastic cups, and tape. This piece explores the sound opportunities of common items via new percussive techniques, such as holding 3 cups like 4 mallets.

Splitting 41 (2017) scores for 2 prepared mechanical toothbrushes, chopsticks attached to plastic cups for amplification, plates of various materials, and LED flashlights. 2 "percussion bots" produce an automated sonic texture—an analog approach to electronics.

Splitting 69 (2025) scores for plastic foil, electric toothbrush, microphone, and LED projection. It explores the sonic potential of 2 simple objects to the limit, leaving no sound unheard, while reinforcing this with visual patterns.

In addition, a 2026 commission of a new work by Swiss composer Cathy van Eck brings technology to the forefront through immersive interaction with the environment. The environment itself becomes the instrument, controlled through sensors/MaxMSP.

Presenting this piece at PASIC will show students how far one can go in sonic experimentation. Percussion education is often monolithic in instruments, styles, and techniques. My artistic practice orients on concepts of improvisation, specific objects and innovative techniques that subvert traditional percussive norms. This performance encourages experimentation and maximum creativity with "instruments" that are at your immediate disposal.