wonderwerp March 2014
On Thursday 27th March, wonderwerp presents an amalgam of heterogeneous proposals, like experimental theater, physical instruments or audio-visual performances:
Maria Aristotelous and Ruben Castillo Del Pozo (…) 12 PRINCES
Martijn Barendregt and Mischa Daams (…) about 75 cycles per second
Yota Morimoto (…) matrix [replay]
12 PRINCES For Continuum, Percussionist and Actor
Maria Aristotelous: composition Tapes, Visuals, actor
Ruben Castillo Del Pozo: Percussions
Taken out of the Time that mysteriously flows continuously and archetypically 12 Princes serves as an Event for Jani Christou Epicycle. Although the score for Epicycle wasn’t used for this piece many principles that surround the score and system of Epicycle were used. The Epicycle which stands for a circle inside another circle serves as an Anaparastasis for the ritual of circles that seize and dominate, many times without our conscious knowledge, our everyday lives. We throughout our everyday rituals, unconsciously, neglect to pay attention to the terrifying layer of Time Continuity that sneakily runs in the background. Only when we pay attention to it, this Time intensifies and overshadows everything. On the other pole through our circle rituals we manage to pull that away – almost out of existence until it reappears. 12 Princes comes out of Time to remind us a little bit about this and then silences again until the next Anaparastasis.
about 75 cycles per second
Mischa Daams: prepared rotators
Martijn Barendregt: didgeridoo and vocalisations
The physical nature of both our instruments constrain and thus define the way we play:
In producing a static pitch on the didgeridoo one has to think of the lungs and cheek muscles as a mechanical bellow keeping a constant airflow. When approaching such an unreachable ideal state, subtle fluctuations become apparent as they interfere with other sounds (e.g. vocalisations or Mischa’s instrument).
The motors Mischa uses to generate sound start a life of the their own when manually brought in contact with resonating surfaces. Playing the instrument becomes a dialog between loose guidance and tight grip; The (un)controlled trajectories translate directly into timbral transitions.
Exploring such limitations and characteristics lead us to new directions during improvisation. For us the flux of interfering patterns creates a strong sense of being in the now. Tune in.
an audio-visual difference matrix.
The performance is a re-construction of my audio-visual installation. It generates time/space precision of difference matrices; nature/artifact, sinister/dexter, high/low, tone/noise… the composition deconstructed, the materials combined in a different light.