I have had different searches during years I have been making music, and my taste has changed as has my life.
What now is called Nebel lang, was a project that began under other monikers. As the name implies, it is an exploration of the concept of time and the unforeseen. The organic, the living, the changes. And it happens, that with the passage of time, I have repeatedly seen the habit of man seeking to approach the machine, towards systematic perfection, no accepting "errors" or irregularities; the more constant the more controlled. With machines, on the contrary, we seek to humanize them. It seems to me so pointless. If there is something that makes a man a man, it is having irregularities, failures, unexpected events.

minui is a small atelier that explores simplicity. After almost 4 years, I have just reactivated it. Today 29th is the launch of a new album with music by my dear friend Lorenz Weber and a beautiful Haiku by 松濤 (Shoto); this time the music will be accompanied by an object, a block of one-note, as I call it; very delicate, like its music and poetry.

I will summarize some other projects:
-I am one half of the Weber & Alcantu, in which we produce sound stories with text and illustrations in a very particular format, sent worldwide as letters.
-Kaltbluetler is a very new project, it tries to include what I left aside, especially what electronic resources are. In this case, I try to only get inspired by visual work.
-Sans est is a duo with my friend Ramiro Saravia, in which we try to merge both musical voices, the search is not very clear yet, but we do seek a balance between our aesthetics.

There are other projects that have not yet been released to the public, and I am very excited to share them soon!

With the lifestyle that most of us lead, it seems difficult to stop for a moment and observe the little details of nature with their own rhythm and melody. There is certain parallelism with music, yes, but it is also due to collaborations with visual artists, especially with photographers who by their own decision contribute with fresh images from nature.

When I improvise, I really do not know what I'll play.
There is a lot of muscular memory, the fingers start dancing and there are impulses that one gets from the very now.
It also depends on the piano, every instrument sounds different. I used to tune the pianos that I play and that is a parameter that can influence a whole new composition. When I realized that a piano is never tuned "perfectly", I discovered a new spectrum to play with, very much like another ingredient beforehand.
Broken pianos, with mechanical issues, for example, are something I take advantage of at the time I improvise, either avoiding keys or using an uncommon sound as part of the piece. There are also positions on my hands that tend to be more used than others or certain tonalities on the piano that feel more ergonomic.
Regarding theory, I learned music in an art school and then continued for a bit in the university but to be honest when I play I just listen to the piano.

What I started to do for a couple of years now is to let that improvisation there where it was played; after a while, I even forget how it was played and if I listen to a recording it often feels like music by another person.
I stopped forcing every piano to play the same piece, expecting the same sound. The pieces are made with a particular piano, moment, and place. In short, what I do is get to know the piano, listen to it and keep the dialogue.

No, I have not read those books. But now that you mention them, I will take a look and see what they wrote about it.
A book that I always keep in mind is "Le Son" by Michel Chion.

The atmosphere aspect you mention, I guess, has been developed while playing at different cafés, where I did not have to play concerts but music in the background. It was a new experience for me, playing and doing my best to not be the highlight. People's conversations and loud sounds from different machines interacted with the music. It was also a challenge for me, playing with few or nonpauses for 3 to 4 hours.
About space, I can imagine you refer to time. However, I try to make different sound layers in order to create a feeling of space, very much like a 2D image works. A topic that fascinates me, worthy for a second interview!

I really like sound-art that is made with field recordings. Artists like Francisco López take it to another level and live-concerts are really amazing, a totally different experience than listening to an album at home.
I listened to a lot of music in my past, but now that I am producing different projects simultaneously it is different. If I have a break from editing audio or checking some new recording, I try no to listen to anything.
When I started playing music, I was slowly getting to know a variety of composers, from Chopin to Debussy, Satie, and Pärt; at the same time, I had a strong electronic influence, a lot of trip-hop, and a bit of ambient.
I made a mix with some influences of my last 10 years, you can check it out here