machine-learning
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Plateholder is the second performance of Marije Baalman that explores the use of gesture, or in this case rather posture, as a method of writing code.
In Plateholder the performer holds a plate in different postures in order to write code to sequence sounds. Each new variable needs to be defined as a new posture. The challenge in the performance is for the machine learning algorithm (a linear support vector algorithm) to learn an increasing amount of postures and for the performer to come up with new postures that will not confuse the machine and that the performer can remember over the course of the performance.
The title is a word play on placeholder, as the plate, dependent on how it is held, temporarily represents either a keyword or a variable in the postural coding language (PoCoLa), and the performer holds that plate, though may be replaced in the future by a machine as well?
Photos from Live Coding Sessions #9 on January 15th, 2026, by Dave Pelham
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The performance the machine is learning is a theatrical performance highlighting the process of training a machine with realtime gestures: the labour that is absent from most dialogues on machine learning. In an attempt to livecode with gestures, the performer finds herself directed by the machine to repetitively make gestures to generate time series data samples for the machine to learn from.
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GeCoLa or GEstural COding LAnguage is a project that looks at how a coding language written by gestures could function.
The programming language is a minimal language to create sequences of sounds and manipulate these. All the keywords in the language and the variable names are expressed by gestures.
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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 serie of a music-theatre works where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world. In Chrysalis the focus is on slow movements and the body as a whole - becoming conscious of the minimal movements within and of the body. These minimal movements are amplified through the use of sensors and light and sound, and physical connections to the cocoon-like structure.
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‘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