Considering the idea of open form as one of the most fascinating concepts of twentieth century music composition, Gerhard Eckel sees new opportunities to approach this utopia by the means of modern media technology. Compared to the classical concert situation, where musical texts realized by composers are interpreted by musicians in order to be received by the listener, the installation situation offers a fundamentally different presentation framework for music. The listeners are free to actively position and locate themselves in space and time, thus giving way to listening conditions less constrained than being bound to a seat in a concert hall. Exploring a music installation is much closer to contemplating visual art work than attending the thread of directed musical discourse in a concert. The installation situation allows listeners to more directly experience the openness of a composition because they may affect its unfolding, a privilege which was reserved to only composers and instrumentalists in the past. But how to offer this access to the untrained listener who is neither composer nor instrumentalist? Only the most intuitive interface referring to every-day experience as anybody can assumed to be acquainted with will insure the necessary ease and subtlety of navigation. In his installation Camera musica, Gerhard Eckel will use the notion of a remotely controllable (virtual) camera as a vehicle to visually and aurally explore a potentially open composition. By the means of a projection-based virtual reality system listeners will explore a three-dimensional music space with the same ease and intuition as they would walk through a park. The different objects they will encounter in this space and the various situations they may experience are set into relation with the structure of the music produced while wandering upon. Thus Camera musica uses virtual reality technology not mainly for its immersive capacities but as an intuitive interface to explore complex and ambiguous musical relationships.