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.

2 years, 1 month ago

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..

2 years, 7 months ago

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.

2 years, 7 months ago