“Ex Machina Dei” features a meeting of two strands of sound research which are as unique as they are fascinating, in a commissioned work to be developed in St. Andrä-Kirche. In his “poSTepeno” project, Robert Lepenik, who operates in microtonal acoustic universes as well as in experimental rock settings, has appended sinus sounds, that gradually change frequency, to the echo of digitalised piano sounds. New harmonic structures seem to create themselves, incessantly changing, constantly seeming to escape perception. The media artist and researcher Winfried Ritsch in turn, has in recent years repeatedly investigated the potentials of machine-based sound production, particularly automatic pianos. “Ex Machina Dei” arranges a piano, a mechanical organ, sinus sounds and robots inside the church to create an overarching machine that by means of constant self-analysis maintains a complex harmonic and rhythmic system throughout forty-eight hours.