artist and researcher/developer based in Amsterdam - working with sound, light and interaction
current / coming up
The Malbody Centre will be presented as a multiparticipant environment that takes place in a speculative future setting, where wearables have become body protheses that mediate our senses, so-called e-bodilies. Protheses that are connected to networks controlled by large companies or states. The participant takes on the role of a malbody, a person with e-bodilies, who does not function according to the norm and must therefor be cast out of society.
This project is currently in development
‘There is no light so bright or there is a shadow’
An invitation to dance with your shadow…
A shadow always follows you, what if you follow your shadow?
Your body casts a shadow, but what shape does it take?
Every light causes a shadow, but what if a shadow alters the light?
And if we loose our shadow, do we loose ourselves?
This project is currently in development
in collaboration with Wen Chin Fu, Matteo Marangoni, Ibelisse Guardia Ferragutti, Jochem van Tol, Harpo ’t Hart
How to Defend Yourself From Danger is a participatory performance inviting the audience to take part in a self-defense workshop. Combining elements of slapstick comedy and gestalt psychology, the concept of safety is explored by examining how threats are perceived from the standpoint of our bodies and our senses. The Chinese proverb of the three wise monkeys states “see no evil, hear no evil, speak no evil”. Can we take control of our fears by taking control of our perceptions?
A cocoon lies on stage, barely recognisable in the dim light. An almost static chord is sounding in the space. The light changes in color – the chord is changing slowly in pitch and texture. The cocoon seems to move – the light seems to get brighter and gradually shift color. Suddenly a fast movement – a sound erupts into the space, the light flashes – then again everything quiets down – the movement, the sound, the light.
Wezen is a music-theatre work where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world. In Gewording (Becoming) the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding.
The Scrempler is an instrument for live sampling and manipulation – meant for improvisation with other musicians.
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.
Vliegen, liggen, in gedachten
VLIG is a composition made for a kite.
Flying a kite is both an eventful and meditative activity at the same time. The wind is unpredictable and can direct the kite in sudden directions and cause the kite to crash land. At other times the wind provides a steady flow, for the kite to stay endless in the air, only shifting sideways slightly, minute pressure changes on the cloth.
N-Polytope is a spectacular light and sound environment combining cutting edge lighting, lasers, sound, sensing and artificial intelligence software technologies inspired by composer Iannis Xenakis’s works named “Polytopes”.
or livecode embodied
Livecoding performance with SuperCollider, using the laptop and the act of livecoding as the sole material.
(2010) In collaboration with Elio Bidinost Sonobotanics is still a widely unknown science; it studies plants whose life experience is predominantly in the auditory domain. The sounds of the Triquetri are accurately modelled using Lindenmayer's system.
Just Noticeable Difference (JND) is a sensory environment for one person at a time lying in total darkness, and explores the gaps in seeing, hearing and feeling, the fluctuation of noise and order and the play between sensation and sense making directly taking place at the level of bodily experience.
Developed for Popkalab in collaboration with Bless.
The hammock has embedded sensors to detect the person on the hammock and the swinging on the hammock and plays music based on this.
In Transit are a number of sonic creatures living in the ceiling of the Gerard 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 of two old Philips buildings, Anton and Gerard, on the Strijp-S area in Eindhoven, two sound installations are created to enrich the experience of living in the area.
In Transit is designed for the passage in the Gerard building.
be, character, creature, essence, gist, nature, being, intelligence,
Wezen is a solo music-theatre work where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world.
Tinnitus is a half hour composition exploring the sound world of people with hearing disorders, such as hearing loss and tinnitus, based upon an interview with someone suffering these disorders.
Collaboration with Attakkalari Center for Movement Arts, Bangalore, India
Chronotopia is a dance theater re-imagining of the one of the oldest Indian epic poems: the Tamil epic Silappatikaram. Attakkalari’s multi-media dance production is an episodical journey, which explores the movement of five performers through a physical and emotional landscape of contemporary life: birth, love, marriage, war, devastation, death and transformation. Establishing a link, between the landscape and the emotional as well as spiritual mindset of the protagonist, images from ordinary human existence encounter the intervention of inexplicable forces.
In collaboration with Chris Salter and Michael Schumacher
Schwelle II is a live dance theater performance with master improviser and former William Forsythe/Ballett Frankfurt dancer Michael Schumacher. During the fifty minute work, the spectators experience a person undergoing the traumatic transformation of the body in the period between death and rebirth. At first, the spectators witness an almost immobile Schumacher sitting at a table, condemned to execute a series of futile, minute tasks. Violent physical spasms and vocal outbursts interrupt this stasis, overtaking the performer’s body.
In collaboration with Alberto de Campo and Hannes Hoelzl.
Modelling the sonobotanic plants, Periperceptoida Dendriformis Sensibilis and Periperceptoida Dendriformis Imaginaris.
Sampling theorem, total playing time: 43 minutes.
Live performance at Büro Friedrich, Berlin (DE), 24 July 2004.
Nord Micromodular, low-fi samplers, custom built controllers – overall performance interface.