The four Piano orbital sound pieces and the film 180° are part of a nexus of works involving the rotation, transcription and execution of scores by Bach, Debussy, Ravel and Lekeu at 90, 180, 270 and 360 degrees. Each rotation required a rewriting of the score, transposing the notations from horizontal to vertical or inverting the bass and treble clefs. What emerges even to the untrained ear is a voyage through time.

The 90° and 270° rotations evoke contemporary structuralist compositions (from György Ligeti to John Cage), while in the 180° rotation the original piece remains recognizable yet sounds just slightly wrong. And once we return to the original composition, there is a sense of ease and familiarity, but also a realization that our perception is infused with the experience of the three previous versions.