In his work, Paul Devens (Maastricht, 1965) manages various concepts of reality by adapting codes, formalities and identities and embedding these in a different ʻre-inventedʼ condition. These adaptations often derive from aspects of an institutionalized society. This process of adapting and embedding is sublimated in different manifestations, such as time- and space related installations and minimal act, frequently with a performative quality. The output consists of installations, with sonic and architectural elements, electro-acoustic performances and video screenings. Esthetical features often embody technological phenomena by sound processing through computers, modular- and interactive software and homemade - and circuit bent instruments in combination with elaborated transformations of (sometimes existing) spaces. The installations often study the correlation between architecture and timebased media, such as sound. The way in which spatial and sonic qualities oscillate with cultural pre-constructed conceptions, led to a selection of works like “Testing Ground” (2006), “Pavilion” (2007) and “Pole” (2008). Sound-works and sound-performances investigate the relation of ʻspectacular aestheticsʼ and content by using a DIY (do-it-yourself) strategy to gain independency and authenticity and thus, to create an alternative form. All sources of sound could be at the basis; usually digital transformations accompany the composition process and reduce the sources to raw material only.