I had the pleasure to perform at STEIM for the Connector Series in December 2018. Within that context, I presented a live electronics performance based on CABOTO, a graphic-based system for generating electronic sounds. This instrument/interface has been developed during the past two years as part of my Master Research Project at the Institute of Sonology, Royal Conservatoire in The Hague. Inspired by the optical sound experiments by pioneers in Soviet Russia during the 30s, the works by Oskar Fischinger, Norman McLaren, Daphne Oram and Xenakis’ UPIC system, CABOTO tries to challenge the boundaries between the concepts of composition, score, performance, instrument.
I had the chance to visit STEIM again in January 2019, for a short residency.
This time, I wanted to work on my electroacoustic setup, which includes wind instruments, different kind of microphones, sensors and live electronics.
This setup constitutes the main environment for my solo performance, INFERNAL MOSQUITOES / THAT WONDERFUL NOISE.
With this project I try to challenge the boundaries between acoustic and digitally generated sounds, looking for that zone where electronic manipulations and acoustic sounds merge seamlessly in the continuum of the sonic gesture. The acoustic instrument is bended, modified, hacked with the aid of contact microphones, pickups, strings, sensors attached to its body, resulting in a sort of hybrid device in between a reed instrument, an electric guitar, a percussion and a controller. The result is a concrete, dense sonic matter, where all the nuances of the human-instrument system (breath, metal, skin, water) are amplified and gain a new kind of presence in a pulsating and ever-changing scenario.
During my time at STEIM, I specifically explored various possibilities within this framework, adding and testing some new sensors (e.g. accelerometers) and reconfiguring the Max/MSP and Supercollider scripts.