artist and researcher/developer based in Amsterdam - working with sound, light and interaction

projects

Composing an Interaction Composing an Interaction
the machine is learning the machine is learning
N-Polytope N-Polytope
Holding the Wind in your Hands Holding the Wind in your Hands
Dynamic Light Pattern Studies Dynamic Light Pattern Studies
Baken Baken
Composing Interactions Composing Interactions
Wind Instrument Wind Instrument
V.L.I.G. V.L.I.G.

posts

  • The SuperCollider Book - 2nd edition
    25 April 2025 | sound, spatial, interaction
    The second edition of the SuperCollider Book is published on April 29th, 2025, by MIT Press.
    This edition features updates to two chapters I had also contributed to the first edition: Ins and Outs: SuperCollider and External Devices and Spatialization with SuperCollider.
    And of course many more updates and new chapters by all the other contributors to the book!
    Thanks to the editors Scott Wilson, David Cottle and Nick Collins.

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  • Mention in the Volkskrant in Rewire review
    8 April 2025 | light, sound, installation, spatial, architecture
    Dutch national newpaper the Volkskrant reviewed the Rewire festival and has much praise for N-Polytope, while being quite critical of the organisation of the Rewire festival:
    Translation by me (original Dutch below):
    The lucky ones to obtain a ticket [to the festival], get their wristbands in the foyer of the concert hall Amare. Behind the cash counters the first disappointment is found. And no, not artistically. The show N-Polytope by Marije Baalman and Chris Salter is a multimedia spectacle that buzzes around you from four speakers.
    The artwork seems to be electrified: music tantalizes the ears, on highly tensioned wires led lamps are flickering. With N-Polytope Baalman and Salter want to reflect on early electronic work of the Greek composer Iannis Xenakis. That is not a misplaced bluff: their piece is a sparkling answer to the cosmic works that Xenakis composed in the 1970s with his self-invented computer program UPIC.
    But why N-Polytope is presented on the staircase, right in front of the entrance, is a mystery. If one work needs a quiet, dark room, this one does. In broad daylight people are walking around, and chats and hugs are exchanged. It is like playing mikado in stormy weather: no matter how powerful N-Polytope is, little remains.
    Choosing the location was weighing the pros and cons: yes, for attention of audience to experience the light and sound in its full depth, a fully dark space would have been preferable. But then the piece would have been set up in a blackbox space, have only been accessible for three days during the festival and have only attracted people who would choose to go to this blackbox. The architecture of the work would have had little interaction with the architecture of the venue it was presented in. Instead we chose for a location where a lot of people would encounter the work, also people who would not normally go and visit a work like this. Also the interaction between the architecture around the staircase in Amare and the architecture of the work have a nice interaction now. And as a plus: the work stays exhibited for a total of two months, making the time, effort and money invested in realising the show more than worthwhile.

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  • Video of Intricate Interplays
    1 March 2025 | light, wind, performance
    Video of Intricate Interplays by Tanja Busking, created by iii.

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