New Islands
"With the focus on relational impact rather than virtuosity, the emphasis on the creation of sonic spaces and situations rather than intricate and brilliant technical or compositional solutions, this work represents a ‘lowercase’ or minor gestural performance in the vein of minor literature (Deleuze and Guattari 1986) and poor theatre (Grotowski 2012). Doubt, uncertainty, risk-taking and the will to create situations that are unknowable beforehand form and inform the performances, the experience of vulnerability and being exposed are a central part of the meaning, significance and statement of the pieces." (2016)
"Seit den legendären Auftritten von Michel Waisvisz habe ich nie mehr einen Performer gesehen und gehört, der meinen Vorstellungen von Live-Elektronik so nahe kam - das heisst, bei dem die Gestik und das klangliche Resultat einen für den Zuhörer verständlichen Zusammenhang hatten."
"Since the legendary performances of Michel Wasvisz I have never seen and heard a performer who approximates my vision of live-electronics so closely - i.e. where gesture and sonic result present a coherence understandable for the listener."
Bruno Spoerri, Swiss Electronic Music Pioneer
New territories are only truly discovered by going there.
This holds true for both the stage and the world at large. On stage, the physical presence of the performer is one of the clearest point of reference. It carries expression, intention and captures the attention of the audience.
In this piece, technical elements are hidden, emphasising the invisible nature of the electronic sound processes and putting the body in the centre. The development of the potential of gestural actions for musical performance is key, the music unfolds through an exploratory attitude and improvised forms. This piece surpasses the traditional ways of playing electronic music through mixing desks, keyboards or mice giving space to movement and gesture. The combination of visible actions and gestures with directly or abstractly linked sounds creates a particular sonic space. The signs and gestures evoke dance, music conducting or even martial arts, yet keep their identity and remain in a domain of their own.
This holds true for both the stage and the world at large. On stage, the physical presence of the performer is one of the clearest point of reference. It carries expression, intention and captures the attention of the audience.
In this piece, technical elements are hidden, emphasising the invisible nature of the electronic sound processes and putting the body in the centre. The development of the potential of gestural actions for musical performance is key, the music unfolds through an exploratory attitude and improvised forms. This piece surpasses the traditional ways of playing electronic music through mixing desks, keyboards or mice giving space to movement and gesture. The combination of visible actions and gestures with directly or abstractly linked sounds creates a particular sonic space. The signs and gestures evoke dance, music conducting or even martial arts, yet keep their identity and remain in a domain of their own.
Some performances
18/04/2017
deSingel, Royal Conservatoire Antwerp, Belgium
25/01/2016
Zurich University of the Arts, Switzerland
15/05/2014
Troubleyn Theatre, Antwerp, Belgium
17/11/2013
Bandra Base, Mumbai, India
09/11/2012
Sound Reasons Festival, New Delhi, India
25/07/2012
46. Internationale Ferienkurse für Neue Musik Darmstadt 2012
Internationales Musikinstitut Darmstadt (IMD), Club 603qm
Text
The Possibility of an Island
A three-part embodied performance of electronic music based on gestural inter/actions.
"There exists in the midst of life / The possibility of an island" – Michel Houellebecq
On stage the physical presence of the performer presents the only point of focus. No other elements are apparent, thus emphasising the invisible nature of the electronic instruments and opening the perceptual space for physical expression. By deliberately stepping away from traditional ways of playing electronic music instruments through mixing desks, keyboards or mice the affordances of abstract movements for musical performance become apparent. The combination of visible actions and gestures with directly or abstractly linked sounds creates mental images both in the performer and the audience.
"Traces" is a piece for wearable sensors and electronic sounds. The sounds are captured, shaped, displaced and transformed by the interpretation of traces of movements and gestures in a body-centric space. The performer navigates a mental space where the instrument, with its sounds and transformation processes is laid out. One of the goals of the piece is to explore embodied interaction with an abstract musical instrument through empty-handed and open-air hand and arm movements. Movements, actions and gestures are perceived as something akin to a sign-language. The signs and gestures evoke dance, music conducting or even martial arts, yet exist in a domain of their own. The palette of sounds comprises exclusively directly captured breathing and vocal sounds transformed and rendered abstract through a variety of processes related to movements and gestures.
"Elements" is a piece for a new instrument/object called the "Quarterstaff" and electronic synthesis processes. The handheld instrument senses attitude, acceleration, rotation and other physical properties. Its main purpose is to serve as a focal point for actions in relation to the performer's body. The piece "Elements" explores an imaginary gestural language that again recalls martial arts or ritual actions with objects of special significance. The investigation process at the core of this piece deals with mental representation, proprioception and object- or target-oriented actions in an imaginary instrumental practise. The duality between the body and the object generates a peculiar tension that drives the piece.
"tbd" is the last piece of the trilogy and still is in the process of creation. It will deal with the peri-personal space. With the aid of camera-based computer-vision algorithms, the body becomes a cursor in a restrained space, where concrete sounds reside and permit interaction in misterious ways. As a complement to the two preceding pieces this piece focuses on the entire body in its surrounding space. The explored motions, actions and gestures cover a wider dynamic range and expressive potential. (press text from 2011)
"There exists in the midst of life / The possibility of an island" – Michel Houellebecq
On stage the physical presence of the performer presents the only point of focus. No other elements are apparent, thus emphasising the invisible nature of the electronic instruments and opening the perceptual space for physical expression. By deliberately stepping away from traditional ways of playing electronic music instruments through mixing desks, keyboards or mice the affordances of abstract movements for musical performance become apparent. The combination of visible actions and gestures with directly or abstractly linked sounds creates mental images both in the performer and the audience.
"Traces" is a piece for wearable sensors and electronic sounds. The sounds are captured, shaped, displaced and transformed by the interpretation of traces of movements and gestures in a body-centric space. The performer navigates a mental space where the instrument, with its sounds and transformation processes is laid out. One of the goals of the piece is to explore embodied interaction with an abstract musical instrument through empty-handed and open-air hand and arm movements. Movements, actions and gestures are perceived as something akin to a sign-language. The signs and gestures evoke dance, music conducting or even martial arts, yet exist in a domain of their own. The palette of sounds comprises exclusively directly captured breathing and vocal sounds transformed and rendered abstract through a variety of processes related to movements and gestures.
"Elements" is a piece for a new instrument/object called the "Quarterstaff" and electronic synthesis processes. The handheld instrument senses attitude, acceleration, rotation and other physical properties. Its main purpose is to serve as a focal point for actions in relation to the performer's body. The piece "Elements" explores an imaginary gestural language that again recalls martial arts or ritual actions with objects of special significance. The investigation process at the core of this piece deals with mental representation, proprioception and object- or target-oriented actions in an imaginary instrumental practise. The duality between the body and the object generates a peculiar tension that drives the piece.
"tbd" is the last piece of the trilogy and still is in the process of creation. It will deal with the peri-personal space. With the aid of camera-based computer-vision algorithms, the body becomes a cursor in a restrained space, where concrete sounds reside and permit interaction in misterious ways. As a complement to the two preceding pieces this piece focuses on the entire body in its surrounding space. The explored motions, actions and gestures cover a wider dynamic range and expressive potential. (press text from 2011)