Dec 212015
 

(2015-16; work in progress)

A cocoon lies on stage, barely recognisable in the dim light. Slow tones are sounding in the space. The light seems to change color – the tones are changing slowly in pitch. The cocoon seems to move – the light seems to get brighter and gradually shift color. Suddenly a fast movement – a shrieking sound fills the space – then again everything quiets down – the movement, the sound, the light.

Chrysalis will be a performative environment where the focus is on slow movements – becoming aware of the minimal movements of the body, both conscious and unconscious movements. It is about interaction on a long timescale – involving multiple senses (hearing, sight, haptic).

In the first phase the project is developed as a performance in which the maker herself is the performer of these small movements; by interchanging with livecoding the process of making the environment will be made visible, while the audience at the same time witnesses the outcome from the outside.

In the second phase of the project, the environment is expanded to a costume or object, that the visitor can enter or wear to have the experience herself.

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Dec 212015
 

(2016 – work in progress)

The title of the piece refers both to wind instruments as a category of musical instruments, and wind instruments as devices to measure the wind speed.
Flying and steering a kite, give you a sense of the wind not just as a measurement, but in its details, its variations at different heights, and changes in time. To fly a kite is playing an instrument, where subtle gestures with the hands can have profound changes in the direction that a kite is flying.

For someone who watches a kiter, while the spectacle of seeing the kite glide through the air is great, these details of the continuous dialogue between the wind, the canvas and the kiter are lost – while for the kiter herself, this dialogue is what makes the sport exciting. Sonifying this dialogue, creating music from the wind and the movement of the kite, will add an additional dimension to flying a kite, and watching someone fly a kite.

To make the kite a musical instrument, I will create kites equipped with pressure sensors to measure the strength of the wind on the cloth, and motion sensors (accelerometers, gyroscopes, magnetometers) to measure the changes in direction of the kite. This is a continuation of the work done for the Musicaerial of Frouke Wiarda, for which I made the composition V.L.I.G. and developed sensing technology.

The work is commissioned by iii and will be premiered at Zandmotor in June 2016.

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Aug 262013
 

(2013-5) Gewording (Becoming) is the first performance version where the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding. Performance at STEIM – Concert of Bodies – 15th of March, 2014 Wezen-Gewording from Marije [-read more-]

May 302013
 

(2013) Developed for Popkalab in collaboration with Bless. Video of final version at the MAK Wien: MAK Fashion Lab #01 – Hammock Sequenz from MAK Wien on Vimeo. Pre-hear of the sonic hammock: This work is licensed under a Creative Commons Attribution-Share Alike 3.0 Unported [-read more-]

May 052013
 

(2013 – work in progress) In Transit are a number of sonic creatures living in the ceiling of the Anton building at Strijp-S in Eindhoven, they will co-exist with the people living in the building, following their movements, and initiating their own. For the repurposing [-read more-]

Apr 212013
 
Scrempler

(2013 – work in progress) The Scrempler is an instrument for live sampling and manipulation – meant for improvisation with other musicians. The Scrempler was designed using OpenSCAD, Inkscape, and MakerWare, using a lasercutter and 3D printer to make the parts: lasercut plexi, triplex, 3D [-read more-]

 

Mixing together the various audio components I made in the previous days, which included making each sound controllable via a MIDI faderbox. While playing around with that, I realised some of the tensions that will occur between the gestures of a single performer and the [-read more-]

 

I have been reading a lot about Rudolf Laban’s theory of movement, and his concept of Effort; the video below is the result of designing sounds to go with his 8 Effort Drives (well, actually I still miss one), and sequencing them in a simple [-read more-]

 

This work is licensed under a Creative Commons Attribution-Share Alike 3.0 Unported License.

 

This work is licensed under a Creative Commons Attribution-Share Alike 3.0 Unported License.