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Live performance after a co-organised DADA dinner with Patricia de Ruijter at Rijkshemelvaart, in Amsterdam.
More info: http://margrietkicks-ass.nl/index.html
In the first patch with the audiometers I made a fully automated version, random numbers are switching random speakers at random moments on and off. Although you see 16 channels, there are actually 8. The extra 8 channels are virtual ones, these I use in the 2nd patch. I am splitting a stereo file in 2, adding to channel 2 a reverb varying from 0 to 90 and back, with random stops with different lengths in between. This makes the signal more spatial.
In the 2nd automation patch, the order and combination of speakers is determined, whereas the timing is constantly changing. I have made 12 presets, differing from 1 at a time, 2 at a time, 3 at a time, and 4 at a time. 10 presets are randomly timed, and 2 of them have an accelerator, varying from 100 milliseconds to 1 second and back, with time-delays in between. This means that the route stays the same, but that the timing is constantly speeding up, or slowing down (between 100 ms and 1000 ms).
In the 2nd patch I am using the extra (virtual) 8 channels (I mentioned already) with a time-delay, this is actually the 2nd mono-signal, following the first mono-signal via the same route of speakers, with a time delay of 700 milliseconds, to prevent that all speakers are at the same time silent. So each speaker receives the 2 mono-signals directly after each other. This makes the presets a little bit more unexpected as well, because of fading out times, and delay times. This I have done on purpose, to make it more dynamically, not too predictable.
A random counter switches between the different presets, and disconnects the random timer when one of the accelerators are activated. By recording directly to the harddisc, an 8-channel soundfile is generated, with a smooth fade in and fade out of 2 seconds at the beginning and end of the file, and of course all the sound-fragments have fade ins and outs as well, albeit with different lengths. Of course the minimum and maximum timings (the range of the random generators) can always be adjusted.
In addition this patch can be played live as well (for instance with a midi-controller). It is so great to play around with this stuff and I am proud that I managed to program this on my own, without any help and that it works exactly as I wish, without errors or stack overflows, and in my own logic.
This project is sponsored by Creative Industries Fund NL
https://www.stimuleringsfonds.nl/
Performance with a big tree-saw and little sponges drowned in water, to control variable input resistances of a self-built synth-like electronic circuit. Combining extremes of the spectrum, physical / literally and in concept: Big/small, nature/technology, water/electricity, sponge/saw, female/male, violence/sensitivity.
Videoclip made in and around my former sound-studio, playing with the Rauschmaschine and the first version of my Splashbox, which are both used in the soundtrack. This work has been a part of a sound-exhibition in Melbourne. All participants were asked to give the viewer a look into their sound-kitchen and the environment.
https://thelibraryartspace.blogspot.com/2013/08/essi-experimental-sounds-sculpture-and.html
Playing with my Rauschmaschine.
More info: http://margrietkicks-ass.nl/sound-quaker.html
Camera: Roel Weenink
Playing around with vibration and shaking objects, based on frequency modulation and a dancer (Tomek)
The starting point of this prototype is the sound of falling drops on hot pieces of metal. This refers to the primal instinct (it's hot!) and speaks directly to the imagination. In addition, my interest lies especially in the corners of the sound spectrum (sissing sounds). In terms of content, It´s about the dualism technology versus nature. A sound research that tries to appeal to the senses in a direct way. Without using effects, I am playing with the threat evoked by the sensation of hearing extremely hot surfaces. Furthermore the sense of time comes into play; when will the next drop fall as threatening tension. The sounds are all live produced with the instrument during a performance. The premiere took place during November Music in Den Bosch (NL) This project is funded by Stimuleringsfonds Creatieve Industrie.
Full concert:
https://www.bitchute.com/video/SZMwJepbMCDg/
Camera: 4D-Filmvisions.nl
Full version, Play Loud!
About the "Rauschmaschine":
Already since my former self-built instrument "Noise_Lab" I'd become fascinated by the phenomenon of "resonance". Especially the "quake-factor" or vibration behavior of iron objects, by doing so becoming in the audible spectrum. (Resonance:• in Mechanics the condition in which an object or system is subjected to an oscillating force having a frequency close to its own natural frequency.) I wanted to work out the more laboratorium-like set-up of my previous installation to the more monumental shapes of this one.
Besides that I also like to mix things which are normally not destined to be placed together, highlighting how easy it is to break free of daily life conventions and showing how automatisms are fixed in our behavior without us being aware of any other possible options.
An ordinary archive cupboard which is used in an office seemed to be the perfect solution. The normally "silent" dossiers kept in this iron object, are replaced by an audible landscape of soundlayers. Due to the size and character of this material it will amplify sounds at particular frequencies along with the construction itself, allowing more ''sound making objects'' to be placed in the unit, for example in the drawers. Also the physical aspects of playing with the drawers attracted me.
WHAT DID I DO?
The base of this sound-unit comes from 2 loudspeakers I put in the drawers, connected to my computer. Behind my computer I placed a midicontroller with faders. With each one I can send an easy basic sinus audio-signal. The two parameters are the frequency with a range from 0.1 until 10.000 and the modulation (frequency carrier) with a range from 0.1 until 100. By moving these faders up and down, different modulations and rhythms become audible.
After the midi-fader, the clean sinus goes directly into the cabinet, and thus will never be sinus again. The whole unit works as a filter in an opposite way (filter:• a device for suppressing electrical or sound waves of frequencies not required.) In this case: a device for amplifying soundwaves of required frequencies, caused by the energy of the wavefront of the soundwave, the iron starts to quake at particular frequencies and produces sounds. In this case the typically "engine-room-environment-cadence" of a big motorship
Additionally, I placed iron objects both in and on the instrument, for example some oven equipment, iron springs, big hi-hats and a metal bin. Dependent on the frequency, each time another object will participate in the composition.
Building the Splashbox during an artist-in-residency at Artspace Flipside
Playing with letters, with and without meaning, as a tribute to the DADA-movement of 100 years ago. In the beginning you hear the original Ursonate of Kurt Schwitters, later the sound of the letters (made audible by my self-developed instrument) are taking over.
Although I am using some presets, the mix of sounds and movements were unique for that circumstance and were made intuitively, real time controlled in the moment.
About the instrument:
Pneuma-tix is the name of my self-built living sculpture, annex noise-instrument, consisting of jumping airtubes and pneumatic pistons. The tubes are at one end connected to electronic pneumatic valves (hand controlled with midi-controllers) and at the other end turning and jumping around wildly, because of the air that looks for an exit at 8 bar airpressure. The pistons are connected to the valves either, and realtime midicontrolled by hand as well.
With the movings of the tubes and pistons I create beats and soundscapes, amplified by to mics, fixed on the valves. This way the 'left-over-air' blows directly from the valve-block into the microphones, so what you see is what you hear; the essence of the sounds is corresponding with the pneumatic movements. The pneumatic soundsource (picked up by the mics) goes as well into my computer as soundinput for digital soundprocessing.
I am playing with this installation moving back and forward; to and away from reality, from real pneumatic noise (directly linked to the visible dialogue between the pistons and the valves) to virtual digital noise-layers out of my computer (triggered by live sound events). Both are live composed and connected to each other, controlled by me. To highlight the behavior of the tubes I use blacklights combined with a stroboscope, so the traces of the tubes in the air, are made visible and a complete experience is taking place.
These performances took place at Nijmeegse Vierdaagse and Robodock Festival Amsterdam
Pneuma-tix is the name of my self-built living sculpture, annex noise-instrument, consisting of jumping airtubes and pneumatic pistons. The tubes are at one end connected to electronic pneumatic valves (hand controlled with midi-controllers) and at the other end turning and jumping around wildly, because of the air that looks for an exit at 8 bar airpressure. The pistons are connected to the valves either, and realtime midicontrolled by hand as well.
With the movings of the tubes and pistons I create beats and soundscapes, amplified by to mics, fixed on the valves. This way the 'left-over-air' blows directly from the valve-block into the microphones, so what you see is what you hear; the essence of the sounds is corresponding with the pneumatic movements. The pneumatic soundsource (picked up by the mics) goes as well into my computer as soundinput for digital soundprocessing.
I am playing with this installation moving back and forward; to and away from reality, from real pneumatic noise (directly linked to the visible dialogue between the pistons and the valves) to virtual digital noise-layers out of my computer (triggered by live sound events). Both are live composed and connected to each other, controlled by me. To highlight the behavior of the tubes I use blacklights combined with a stroboscope, so the traces of the tubes in the air, are made visible and a complete experience is taking place.
Unheard Voices consist of seasponges, self-soldered electronic circuits, a lot of wires and a waterfountain. The squeezing of the sponges (connected with wires and filled with water) changes the sound-image. In the waterbassin an electric resistance builds up, which becomes directly audible by the interconnected sponges by changing the wire-connections, which are leading to electrical circuits. This means that by isolating one (or more) of the sponges, the sound will change also. Unheard Voices refers to the amplification of hidden (electrical) signals (making them audible) triggered by seasponges, the voice of nature, we are neglecting so drastically nowadays. I am playing with paradoxes like water and electricity and nature versus technology. This instrument can be played alone as well as in the collaboration.
Gaia-resonance is a collaboration with Dewi de Vree. It consists of an installation-based sound-performance in which physical and natural materials are used to generate and manipulate electronic sounds; water, sea sponges, stones and graphite are the variable resistors as part of self made electronic instruments.
Inspired by natural phenomena and the interaction between human, nature and technology, we are developing sound machines, instruments and sound-interfaces, in which electricity is handled as a raw material to make (electronic) sound. Central in our work, is experiencing the fine balance between the (un)predictability of the material and the (dis)control of the performer.
The instruments are low-tech, with open constructions and manipulated mostly in a very direct way. Sound and image are strongly connected: what you see is what you hear. Using natural materials like water, sea sponges, graphite, stone and our skin, we aim to demystify the technology in electronic music. Pouring or touching sea sponges drowned in water, drawing on paper, moving magnets and scanning a stone with a needle, are examples of actions taking place during the performance. By bringing back physicality and tangibility in electronic music we want to show the forgotten primal force behind electricity or electronic sound.
The performances of Gaia-resonance take place in an installation-based setting. For a moment the audience is immersed in an imaginary world which can be best described as an eclectic hybrid between a laboratory and a cave deep underwater or in the centre of the earth. As otherworldly creatures the performers take everyday objects and materials out of their context and thus give them a new meaning.
The sounds that are heard during the performance embody nature in all its diverse behaviour in micro- and macro cosmos and can vary from quietly or uncanny low-frequency and deep rumbling drones, to explosions of screaming and violently hissing ultra-high frequencies as sudden releases of energy.