Connector XVI

November 1st, 2018 8:00 pm 

Mark IJzerman, Grafwerk, Bart Spaan, Hans van Eck, Hans van Koolwijk & Igor Urruchi.

Connector is our monthly event where experimental electronic music meets sound art. Every first Thursday of the month we invite either established or fresh starting artists to experiment on our stage. For this edition we have Mark IJzerman with his new A/V performance, Grafwerk with Sannety & Gerri Jäger, and an ensemble with Bart Spaan, Hans van Eck, Hans van Koolwijk & Igor Urruchi.

DATE: Thursday 1 November, 2018
TIME: 20:30 hrs. (door open at 20:00)
COST: €7,50
LOCATION: STEIM, Schipluidenlaan 12, Amsterdam.
Please note: Due to construction work in the area, the entrance is at Willem Frogerstraat.
Directions here
Map here

Mark IJzerman
Mark IJzerman is a Dutch media artist, designer, researcher and lecturer. His works explore human perception and the interconnectedness of the senses, often starting from sound. In his practice he often works with sound, creative coding and electronics.
IJzerman is a lecturer and researcher at the Music & Technology faculty of the University of the Arts Utrecht where he teaches courses on creative coding, media art, installations, and perception. He is also a part of new media collective Zesbaans and sound art collective Soundlings and writes and runs sound art blog Everyday Listening.

Mark IJzerman will be playing Cantus Viscous (2017), an A/V-performance in which the concept of pareidolia is explored.
It’s a live-set consisting of a performance with four-track tape recorders, endless cassettes, a modular synth, home made spring reverbs, a modified Space Echo and a homemade software video synthesizer.

Grafwerk (Sannety & Gerri Jäger) will present the result of a 3 day STEIM residency, in which they developed new work for live set-explorations. This is a duo of two drummers; one playing percussive sounds with an electronic instrument, and the other playing electronic sounds with an acoustic instrument.

Photo: Raoul Hilbink

Sanne plays a sequencer of her own design (programmed in Max/MSP by Johan van Kreij) that can mangle time and patterns while keeping relationships between sequences in tact. Time can expand and contract, curve or be subdivided in any way that you want, creating polyrhythms on a micro-timing level. Further algorithms allow you to play with different parameters of the sound,so the temporal gestures are reflected in volume, duration, panning, control of filters, repetitions etc.

Gerri wires a self-made effect rig to his drum-set. It consists of customised stomp boxes, a bitcrusher, a drum synthesizer and a sample pad. Each element of his acoustic drums-set is connected with a contact microphone and therefore can be modified in multiple ways and trigger the synthesizer and samples. Gerri has been developing this set-up for about 10 years.

Departing from this rich sound palette, they will work on abstracting just the right mix between analogue and digital sound, improvisation and structure, odds and evens, and creating a coherent set that’s just as club-worthy as it is arty (no farty. just the party).

Hans van Koolwijk & Hans van Eck
Bass Boxes & Sounding Porcelain

Hans van Koolwijk is a renowned sound artist and builder of experimental musical instruments. Since 1986 he has been working in the space between visual art and music. The “bass boxes” – built by Van Koolwijk in collaboration with composer and sound artist Hans van Eck – consist of four bamboo flutes. They produce sound by the action of two powerful bass speakers. These speakers act as electric air pumps that direct precisely calibrated gusts of air into the four flutes and thereby create rhythmic patterns. The bass boxes can be played like a ‘normal’ musical instrument with the help of a custom made synthesiser — the pulsor — and a mixing desk, enabling the player to create countless variations of sound and rhythm.

Bart Spaan
(2011) for bass clarinet and bass boxes

In “Long” – composed by Bart Spaan – the bass clarinettist Igor Urruchi introduces long lines into a musical web created by the bass boxes. His playing consists of multiphonics, combinations of sounds whose fundamental note is generally below the bass boxes, whilst the uppermost note is propelled in curves between a few adjacent pitches.
The rhythm of Long is defined by the duration of a human breath. There is therefore no question of a fixed metrical unit, this being determined by the length of the clarinettist’s inhalation and exhalation. Hans van Eck, the player of the bass boxes, follows this tempo and reacts each time with different nuances of timbre and rhythm.

Sounding Porcelain (2018) for sound objects and electronics
Entitled “Sounding Porcelain” Hans van Koolwijk & Hans van Eck present their latest collaboration with a guest role for bass clarinettist Igor Urruchi. They create a haunting, improvised soundscape in which electronic and pure acoustic sounds form an intriguing mix. All sounds are derived from porcelain instruments, built and played by Van Koolwijk. These sounds establish the basis for the various electronic manipulations by Van Eck.