Bernhard Living’s digitally-based compositions share a formal ‘black square’ minimalist aesthetic - and have taken minimalistic compositional techniques to what he considers to be their logical conclusion - with the music being characterised by sparse textures - glacial movement - long periods of silence - maximal repetition - minimal variation - and are reduced to their most basic and essential components.  The content of each composition can be  pitched tones - or un-pitched noise elements - or a combination of both. In their reduced state the compositions are examples of ‘technological lessness’ - and explore what the architect and philosopher Buckminster Fuller called ‘post-industrial ephemeralisation’ - of doing more with less - of doing everything with nothing.

 Influences on Living’s music include the composers Anton Webern - Edgard Varèse - Morton Feldman - and the artists Josef Albers - Agnes Martin - and Donald Judd. 

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