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.
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.
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 Handeling new approaches are explored using the same gloves as in Gewording, extended with gyroscopes and magnetometers. In this performance, the focus is on the role of the hands, giving a distinct role to each hand in the musical control: one hand for selecting, starting and stopping musical processes, and one for shaping them.
or livecode embodied
Livecoding performance with SuperCollider, using the laptop and the act of livecoding as the sole material.
A live performance where I rehearse livecoding with a one-handed keyboard by playing the scripts of other livecoding artists. This piece takes a look at how to practice livecoding and the skills it involves. It questions whether performing other livecoded scripts is still livecoding.
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.
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 Gewording (Becoming) the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding.
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.
Wezen - translation: be, character, creature, essence, gist, nature, being, intelligence, also orphans
Wezen is a series of solo music-theatre works where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world.
Residency at Constant (December 2012)
The first stage of development was supported by a residency at Variable/Constant in Brussels.
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.