„Was den Dilettantismus anlangt, so muss man sich klarmachen, dass allen menschlichen Betätigungen nur so lange eine wirkliche Lebenskraft innewohnt, als sie von Dilettanten ausgeübt wird. Nur der Dilettant, der mit Recht auch Liebhaber, Amateur genannt wird, hat eine wirklich menschliche Beziehung zu seinen Gegenständen, nur beim Dilettanten decken sich Mensch und Beruf; und darum strömt bei ihm der ganze Mensch in seine Tätigkeit und sättigt sie mit seinem ganzen Wesen [...]“
“As far as dilettantism is concerned, one must realise that all human activities only have a real vitality as long as they are carried out by dilettantes. Only the dilettante, who is also rightly called a lover, an amateur, has a truly human relationship to their objects, only in the dilettante do person and profession coincide; and that is why in them the whole person flows into their activity and saturates it with their whole being [...]”
—from: Egon Friedell, Kulturgeschichte der Neuzeit
In Inventions, machine-generated monophonic “improvisations” serve as a basis for tonal compositions that are finalised by a human being.
The improvised sequences are necessarily interpreted as a result of the production and the acoustic diversification associated with it—both in the production process and in the product itself, a peculiar dynamic emerges in which the human being appears as the interpreter of a machine-generated creative contribution.