At theater Kikker.
More info: http://margrietkicks-ass.nl/pneuma-tix.html
My first exam with an autonomous work. The task was to make a mobile, something that hangs, further there were no restrictions.
I made a soundsculpture of it, my own choice. I had no idea that a lot of them would follow. It was based on tiny electronic feedback-circuits that made noises.
It was my first encounter with electronica. It consisted of electro-magnets with piezo-elements attached, that moved them in the area of a speaker, and triggered the feedback noises. I was able to control them, by adjusting the interval triggers (with a little screwdriver), which were providing electricity to the magnets. The teachers (Edwin van de Heide, Robin Deirkauf, Jan Zoet and Frans Evers) reacted very enthusiastic.
SPLASHBOX enables vibrations to become audible underwater. 2 bassins of water are put in motion by a remote controller and made audible by using underwater microphones. In my live performances I make compositions with the resonance of selected daily objects under water by adding or removing them. During this wet dance a minicamera is connected. Moving images of the soundsoup are projected on a big screen, so the audience can have a look into the source of this soundkitchen. This mini-laboratorium shows a real time research with the sounds of daily objects around us, mixed together with the sound of (under)water and very low frequencies..
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.