All the works under Acoustic tendencies combine the search for unique solutions of musical instruments with a focus on their operability and acoustic manifestation with respect to their perception by humans on a biophysical level.

Since about 2002, in the framework of the study of new media at the Academy of Fine Art in Prague, I have been focusing on the study of the perception of sound, especially in terms of its perception on the basis of biophysical response both on the neuronal level and biomechanical response that is common to all people regardless of social and cultural aspects. In the early development of the project NK-205/2, the neuronal response to sound stimuli was measured by EEG (electroencephalogram). Project E_S explores the possibilities of creating music by the spacial location of the spectator in the virtual environment. The Parallels project tried to study the connection between physical expression and music creation.
In the early days I was working with Theremin, electronic music and different types of interfaces through synthesizers to more contemporary interfaces such as Maschine and Push. Electronic instruments are then left out as a blind alley of development, because the electronic instruments lead to an excessive systematization of processing and execution, which is processed largely consciously. Conscious processing is then strongly shaped by socio-cultural influences, which, as we know, I try to avoid from the beginning. Thus the aim is to work and study acoustics on a subconscious and deeper level and, of course, always keeping in mind the biophysics of perception as that is its only solid foundation.

The awareness of biophysics and biomechanics are further taken as the cornerstones for the development of all following projects. Consonances and their relation to human perception have been used somewhat unexpectedly in an alternative solution of piano tuning mechanics. Physical contact and interaction with the instrument is also evident in the transformed piano with isomorphic keyboard, again an attempt to optimize the instrument in order to improve the interaction of focus and execution. The isomorphic keyboard, however, points, as is the case with electronic music and electronic instruments, to the problem of too much conscious processing.

Various orders have expanded the range of processing possibilities and the outputs crystallize mainly in the form of acoustic instruments. With their acoustic richness and direct touch, acoustic instruments best express the essence of sound perception as man has learned to perceive it during his evolution.

The current focus on Harmonica is the result of the search for personal expression and its qualities. The personal expression here is the breath which is one of the profound emotional stimulus of man, the rhythm of the breath, the vibrations perceived and amplified by the body.