ST/JR/021 Achtergracht 19 1017 WL Amsterdam 020-228690

Feb, 1-Sa
Clear Steina and Woody,

Did Santo Fe get caught when the dam finally broke up in A1asl:a`% I'i-n still
finishing tip a second try at flu this winter after too many S,Veel :-, , of
ST EI(°lirlg by day while recording by night. ! really appreciated your
hospitality and the sneak preview of winter in New (1exico . I hope I con get a
second chance some time when there is more time .

b,o just to get this going I'm going to list the basic WORK PL/'AN for dour
project as i t i s seen by the boys i n the back. room . I f we have missed
anything in concept or detail let us know as soon as you earl .

Motor controller hardware

motor oontroller software
Violin interface
Pro,;c.;= software

i- Motor Controller Hardware

Paul Spandermann, STEI(1's chief engineer, has suggested ~;fe make our o ,",,jn
motor controller ccomunicating via MIDI instead of using the x!;-bets_ IFtI,I
. F,fboards
The Advantage: you can use any computer that has MIDI to talk to the motor
controller . We know 111D1 as a control language and we have alreadq designed
a small control er/computer (ex4x > inches) which can be easilq adapted to
control stepper motors and relays . Though this is custom hardware, e feel
we could be up and running faster than if we had to learn the A-t++-as ID11
system . We have little IB['1/80x86 programming experience and our schenle
would allow you to use the Hac or Atari as a platform for the design of this
and future pieces, an altogether more simpatico situation as alci-st = "all" of
our software in the recent past has been based on these two rnachines . Is
this acceptable to you as a way to get a working system?

Questions : it is important to let us know how far you have gone alreadtj
ill Putting together the camera mount mechanics, and motor systerll and *hal
help if any you need in this area . In order to control the stepper motor"s we
need to know how many, how precise, and how powerful they be.
We also need to have a scheme for zeroing the system, that is, the
computer has to have some way of knowing that all the motors are at some
"D`'"
known or position . This could be accomplished using micro or optical
switches or 360' potentiometers to feed back position to the controller Do
you have any ideas about this? I t very much depends on the specifics J--) f the
mount mechanics. . Do Uc+u have any diagrams or photos?

KvK 127879 Bank Mees en Hope 250012774 Pestgiro-t878-79

 ii . Motor Controller Software
We will write general stepper motor "driver" software to control the multi-
axis stepper motor system. Just the minimum basic routines to, rotate so
many steps in so many seconds providing a language with },which to address:
the camera mount . The specifics of these drivers depend on the kind of
motors used and the basic physical geometry of the mount .

Question: we need to know your conceptualization of the camera mount

geometry . Ignoring as much as possible the instrument interface, hm^r do you
view the cameras motion? Photos and diagrams are essential here!

iii_ Violin Interface

A device to convert instrument sounds and gestures into an abstract f lov;' of
data .
a . one solution, using an ultrasound sender/Sensor pair mounted on f_ha
bow and body of the violin measuring distance and velocity .
Advantages : simple linear response to control independent of actual
the controller; it is also easily expanded : more switches or cent inuc11.r ,
controllers can be added with little additional soft or hardworp
Disadvantage : more custom hard%fare . i. But this interface is well k:novrn at
STElP1 and has been built several tirnes and used in manq application":.

b. a second solution using a microphone or other pickup with the IVA

"Pitchrider" or other commercial pitch to V11DI converter to make the
amplitude and pitch of the sound available for control . A few other
parameters of control are also available : pitchbend (lots of data thus could
be difficult to use) and loudness .
Advantage : off the shelf
Disadvantages : quantized pitch response ; possible complications. with PA
feedback leaking into Pitchrider pickup .

c . Both of the above might be used together . Both will convert

gesture into 1°1101 for interpretation by the process software

Questions : how do you currently conceive the violin as a controller-.Is

the emphasis on using its natural sound as the controlling mediurri7' or the
gestures of playing? or is it even possible to supplement the violin with
additional channels of control i;eg switches, pressure etc?j

iv . Process Software
Probably the most interesting category, but vague at this point as "we don*t
really knov%, your piece yet . It can be specific to the violin case but there c:an
be factored out more general modules to cover other future processes you
might ,shish to use to move the camera. The basic problem is alwags first
lio,hr directly or indirectly you want to control the robot's activity and is the
rnotioon "parallel" or "one to one" to your gesture or should there tie more
indirection, multiple reactions or contrary reactions for the sariie input 7 f'

There are lots of ideas that George Lewis and I have developed in the past
that can be brought to bear on this problern .

v- Other hardware/software
Have you made any decisions about other hardware devices such as the
linear tracker/robot arm or the 37 Wrendering software? If there is
something we have forgotten or suppressed let us knov, .

Ignorantia
Are there unsolved problems t,e are ignoring? The camera mount rriec:l-~anic: : .
the video signal communications, the 351) modeling software?

FLtIIPMENT LIST
We also need to know particular equipment you expect when YOU get here
such as a computer of xxx type ; special audio effects, sarnplers .. .I'll try to
include a list of what we have . (separate videoll°lontevideo needs in their
own list we'll pass it on.)

Another subject entirely :

Vie Aould also like to plan any public apperances you might ,vish to make
"Y,rliile you are here . I have been leaking the dates of your visit and the
response is strong . They all want to know when they can vi ,--.it or if you can
be persuaded to do a workshop or if you'll help open a new shopping centre in
Henglo . Ho ,,, ,, should I respond to these requests in the future'!' Are ycrr
available? Would you like to do a workshop while at STEM? This is not to
Put proOouro on you of
ony kind but juot to find out your fooringv oa thtit "::o
can make any necessary arrangements in advance .

from you soma give mu reaaros to oene and riort .

 Achtergracht 19 1017 WL Amsterdam 020- 228690

ST/GL/NB/049 Steina and Woody Vasulka

march 20, 1989 Route 6 Box 100
SANTA FE
New Mexico
87501 USA

Dear Steina and Woody,

Concerning your project at STEIM, we would like to make some practical

arangements.
We planned your working period between the 22th of april and
the 15th of july .
You both will have your own studio: a room with a setup of equipment you
need but without special acoustical facilities . There is the possiblity of
using one of the sound studios we have at ground floor level .
We have accomodation for you in our guest house.

We invite you to have one presentation of your work during your stay
at STEIM in one of our monthly events.

If you travel from New York we pay your ticket up to $ 881,- each,
if you travel from Santa Fe we offer you $ 1138,- .

Your fee will be 4500 guilders (approx. $ 2250,-) each.

That's all for the moment.

We are looking forward to have you with us next month!

Best whishes,

Gabrie Lantinga

KvK 127879 Bank Mees en Hope 250012774 Postgiro 187879

. STEIN flEfAAQh T

ILO

The pia"pose of air involveent with STEIN is to ca Win and create a new class of tools
whirl: add serve to expand a:r .wa°k in these particular areas:

1) To (wild a computer driven camera platform which would provide a MIDI driven programmable movements

in concert -with- soound/perfe"Unee/installation interactive system.

2) To create a concept of electronic stage which fully employs a function of a computer as a storage

Coordinator and executor of inales, sowds, notion control parameters of physical stage components

and to facilitate interactive modes of stage to performer and performer to stage command and
control
exmunicatiemt.

Although the project seems to emphasize the physicality and technology, it in fact is

designed to provide cultural interface between the creative processes of writing or scoring for

the stage and the execution of this process through the media. The ambition here is to
begin to
create nomeiclatm^e through Which a unified genre could be practiced through opening more general
possibilities for a creative participation through works of art organized electronically in
somewhat
core stable and unambiguously notated strategies.

The win motivation for this project lies in a belief .that there is a concious impulse
in the creative art Community to ruse high technology for their expression. It is therefore an
experiment
in this assessment as well. If the ddmain in information and entertainment of technology should
be
tested, the effort in touching he audience profoundly should be exercised as well.
On G3 systems Imageline may hang going to or from perform mode. The
ivOrkarouxcd is just. opening the video setup window (c-ommand0), right
titter startup. and mid hitting ok. (Don't ask me...)
Chi a related. note. the QuickTime settings are not currently saved in. the
Intageline pres
. Sorry. PAL countries.

Some things which didn't make it into the manuak

" In the TableLibWindow and the Preset window: you can edit the names ofthe
tables and presets by clicking once and holding thebutton . The field wil change
into an editable text field. Type the new name and hit return to finish the editing
process.
" Using the cursor keys in the display state, preset and tablelib windows will
move the selection. Hitting return will open the table edit window or activate the
display state or preset .
The vAW Imagelme deals with program change is also different from the
manual-
9 Program change is now hard-wired to presets; in the midi setup window you
select the program change channel, pizc 0 now selects preset 0 (the first one) pgc 1
preset one etc.You define your own midi commands to select display states ; in the
display state window you move the selection with the cursor keys, at each position
you1 have up to three editable numericals to select the midi command which
will enable that particular display state . It is possible to select program change
as the midi message here, this pgc command will then override the preset
selection, and the particular preset will not be addressable through midi
anymore . In the example below, the second display state will be activated
when Image/me recieves a note-on message on channel 1, note number one, any
velocity .
 Nicolas Collins
Palestrinastraat 10-II
1071LE Amsterdam
Netherlands
tel: (31 20) 676 3069
email: nicc@xs4all .nl

June 18, 1996

Steina Vasulka
c/o STEIM
Achtergracht 19
1017WL Amsterdam

Dear Steina,

Here is a copy of the press for Stroomgeeet . If you want more copies of the photos
please contact the photographer directly. Please call me before July 10 if you need
more copies of the catalog from the show.

Let me take this occasion to thank you very much once again for participating in the
project. It was a lot of work for very little money and a very short exhibition period,
and I feel as though all the artists made a major commitment of time and energy. The
rubric was clever, perhaps, the setting was unique, and the production crew was
extremely competent, but the extraordinary success of the show was fundamentally an
indication of the quality of the artists' work . We couldn't have done it without you.
Thanks .

At the end of the summer I move with my family to Berlin for a oneyear project with
the DAAD. We plan to return to Amsterdam in the fall of 1997. I hope to have the
chance to work together with you in the future. Please stay in touch.

cheers,
 Achtergracht 19 1017 WL Amsterdam 020- 228690 ,

ST/GL/NB/049 Steina and Woody Vasulka

march 20, 1989 Route 6 Box 100
SANTA FE
New Mexico
87501 USA

Dear Steina and Woody,

Concerning your project at STEIM, we would like to make some practical

arangements.
We planned your working period between the 22th of april and
the 15th of july .
You both will have your own studio: a room with a setup of equipment you
need but without special acoustical facilities . There is the possiblity of
using one of the sound studios we have at ground floor level .
We have accomodation for you in our guest house.

We invite you to have one presentation of your work during your stay
at STEIM in one of our monthly events.

If you travel from New York we pay your ticket up to $ 881,- each,
if you travel from Santa Fe we offer you $ 1138,- .

Your fee will be 4500 guilders (approx. $ 2250,-) each.

That's all for the moment.

We are looking forward to have you with us next month!

Best whishes,

Gabrie Lantinga

KvK 127879 Bank Moos en Hope 250012774 Postgiro 187879

 "HANDS"
played on

THE HANDS
by

Michel Waisvisz
 ,
a fitttl~t~hlililrirlriaf~trt irlrttrtrlrlr,~,rfrlrl~ rIrIsIrIwir,r-i=ilr,ip
t rlrtr , frl~l~irlrlrl It!~T1~1~1_i_Ir1~1~

a composition
b
Michel Waisvisz

for three Yamaha TX7 synthesizers

remote contolled by
Michel Waisvisz on=

t The Hands
sf
Sound engineer_ Maurits Rubinstein
/
r1

Hands is a physical and visual approach to electronic

music
1
1
1 It's live electronic music
1
t
1
no tapes
i
f no video
no Computer Composition
no Artificial Intelligence

"The Hands - are instruments with sensors and

switches that are fitted under ones hands and
transmit each move of an arm, hand or finger to the
electronic music instruments_

Image : Balinese dancers, old European magicians,

boxers and conductors connected by wire as i f i t was
the - Turing Test on a Tesla Transmission"

Sound= If music - of the seventies" was about

meditation on the cyclical activities of rowers at
sunset, and about the trajectories of the resulting
wave patterns, than "Hands" is about rowing itself_
MICHEL WAISVISZ

born in Leiden 1949

lives in Amsterdam

Composer and performer

designer of electronic music instruments
artistic director of STEIM foundation
co-founder of Claxon (annual sound festival and record label)
$ concept-creator and co-organiser of Pandora's Music Box (annual big-scale
New Wave' festival in Rotterdam)

Solo concerts and instrument development

:,carted giving concerts in1 9157 on elect("o-8cou`;tic lnstrufnerlts (.strings arid metal objects
arnplified through the use of contact microphones)

In 196'? concert_, with electronic music instruments, 4 class;ical elec_tr~,nic music equipment +
mooll 5ijtithe i 7.er ;i_ "Expli3" arid °Iropulse .

Eerie se5rentie° : concerts +;rich the " Ha nd-t5pG3the fi rst authentic i n .-,-tr- unient guilt by z.
The plaijer is seated between two tapeloops and controls plauback of the tapes, on with special ii
formatted snundrrieterial is prerecorded, entirelq by hand movernents . Synchronised performance
of ticith loop=; and footpedals could produce "stretched" sounds . i n a later version life recording on
the tapeloop :; was also posssitile . "C;ullivers Travels" and "TrajeA. " .

Frorn 197 G concert° with a rflodifled Putney VCjj synthesizer . Modifications i ncl ude.d the addition
of a set of conductive firoerpad:; as a keyboard .

In the sanne period the first C.rackle-box!was built . This instrurrent wa :; fc~r a long ti rne Wai
tradernark and was realised with extensive -support from TEIt'1,rArf,'t?rddrn of which tie later
tiec:arne the arti~-;tic director . The instrument :; design ,via:; tia,;ed on the use of conductive fi ngerpads
that were connected with a °pecialIy designed set of o3cilator' . This waia the body of the performer
benrne an integral part of t tie electronic instrument - a thinking part - . Tfie fact that both,
patching the functions of t tie oKiIators as co ntroling these function=; were e~--ucuted bu the same
rill rnlers : ttie fingeroade the CracI:ae-inc;trument one of the fir:;t flexible electronic: music:
iristrurnents suited for live performance .
Frorf 19 ?5 Vlalsvl-sz ga'v'e marry solo-concerts arid perforrriJrices uinq'he Crackle-tuxes, arid
similar sijsterns +.rich theatrical purposes .
rafter hawing toured the major t4e1w and Free music festivals "places in Europe tie did ,3 :,tort tour in
t tie US a rid C a nada i n t fit late z;eve ntees
C.laXon released "Crackle" a record vwith cornpositons for the Crackle-synthe :.ilzer Performed tiu
thF! r11rrposer .
 Only after '01 ,^laic:'r'is~ started experinientirig with digital s: rid-production .
The VvrACRA was built . This in_arurient, that tie called "the battlefield" consisted of linked
electronic insstrurrents of various kinds . The main components were
a modified casio 510 and the
Crackle-synthesizer . A ,.pedal keyboard was played with hands and eltQws, and also vote input
became important .

The Piece "Beat concret" :ed the end of tht .~ period n? e, .`-ietl_mark rrlenti rig s, ritl'I ,-..-r!'lfnetGl,
.F_~ ! n'ally
a'r;aiIatile digital music: irls.trurr,ents .
..Beot concret" vias performed during the Claxon So undfe'tiv .aI of , 98,4 In " ~... Concert...,-g,
Arns:terdarn . Two FaiNight computer music instruments,~5 Yarrlaha DX73 and the WACRA~were
^
'conducted" and played with "The Hand .; ,. bg';';'aisvi _? .

Development of The Hands began, again'vvith support from ST EIf1, late

'83 .
The Hands are re mote-controlers far custom built and co mmercial I y
available computer music
intrumentsequtpedwith f11DI comrnunicati0nfaciIitea .
The Hand_: consist of handsized aluminium plates, strapped to
both performers hands: . On the plates
=' .'' fingorkeg : and mercury L witches is mounted to provide coMinious detection of
arrn-, trod- and ft nger movements as well as detection of the distance
between the hands . The data
captained from these se ns!ngs is given musical meaning through the _:elective
use of the MIDI-codes .
In circles of computer music : composers this: instrument is seen as a
possible breakthrough in the
d1 rYctton of ,a more humanlsezeed approach to live electronic music _
performance .

In 1'?85 Wai :_;'visz started touring extens:ivelg with a piece performed

an Ttle Hands "The
Co nductor° (Electronic Music Festival Bo urges, Stedel0k 11 use urn Amsterdam, Pal ais
de Beaux
Art:: Brussels, Centre Pompidou Paris etc .)
He received an invitation to work at the IRCAM ( One of the major
international centers for the
de'vrelopment :and creation of computer music) .
Early 1986 a new concertwork was conceived : "Hands" . This work
will be performed durlng
Several tour-.; that will be made i n the first half of the gear . Februari
. SwlherMnd and Italy ; april
and rriciq USA and Canada .
in the fall he will start working on a exterrded version of The Hand_: at electronic
music: department
of the Royal Conservatory of I1wic: in The Hague . These Hands will tie :able
to control the Vos:irn
generators developped at the Institute of So nolgie ! Utrecht bg Yaegi
an To mpelaars . At IRACAM the
Hands will be modified to play the main computersgatem the 4X .

Music theatre

Walsvisz contri buted an i mportant part i n the development of Dutch music

theatre i n the
seventees. Starti rig with to ppeni rig li ke protects with members of the Free
Academie i n The Hat?_ ue
'71) he brought togettier people frorn very different disciplines in a se rie
of "plays" that
received a lot of ;attention during a period of about ten gears . A lot
of special electronic :
iretruments, derived from the Crackle boxes, were used during these
performances . "De
El ectriciteit ° , "Hot Anarchiatenbal° "Pa ndora" .

1n 1972 he composted arid performed the music for Harry

MANY theatre play "Oedipus Oedipus:"
during the Holland Festival .

Together with s:i ngeriactress Moniek Toet:osch he formed

a duo that reached :a wide :audience with ;a
show that rrlatched relativati rig wit with heavy drama :and the
e:, ha us ;ti rig power of total Ia
impro'v'ised performance . 0n r: re occasiorc they still
perform together .
I n r1fildel burg ('80) Wai,~viszz organised a three day music-erivi ronment "Rust- Roest" for which
he i rivi fed his rr0isi c arid theatre fri e rids amongst others : Laurie Arider:;on, Trijus de Groot,
rlaarten Alteria and Armand Perenet) .

r1aarten Alteria (compo .,-,er and bas

;player) and Waisvisz founded Clax.on arid worked
:-
together in many incidental music- theatre-productions .

In 1982 Wai-,visz decided to concentrate on music and made a quiet salute to his music
theatre friends with "The !QVrr9ck" Festival) . The .&or ;-.: started y : ;9
theatre/ ballet performance and ended as a concert.

Music
Groups

Als-oin the early seventies Wai .,:;vis- 2 took part in the movement of free improvisation . He
performed in groups whith the major European Instant-compo3ers" : Misha rtengelberrl, Peter
BrAmann, Hon Bennink, Willern Breuk.er, Derek Bailey, Maarten Alteria, Steve Lacy etc .
There are several records out that %..,Itnemo these activities .
Arwmd 1980 he stopped working in As area .

Theatre robots

Duhngthe Holland Festival 1931 HAN& controversial music theatre work "DeEdungels"had
i 5 tu r b W a nt p re Ae re . I n t he wo rk the major pa rts we re performed b y robots designed t+y
ai ,--vi .
:z The
; u mpti on that most of human bei ngs be have like robot
:, most of tfie ti me .9 nd that
for
thatsWuld be aground applieing the human rights M3o to the actual, not very intelligent,
generabori of industrial rotots %waz; the central therfie of the play vore robots and human
re rfo r at r3 rill ngA ed i rudesce r ni bl g .
Since that time the robA3 performed Wor pieces and concerts on many occar~ions . They toured
arid
Poland and Italy g rev, ol d af :i , iA fast .

I n 198 4 Wai Asz started usi rig .--o me of the re mai ell rigs of the Sl u rigel s fa r desi gril rig 'J rie.%,Y'
ensemble of co rn posi rig and perk r A rig robots
. I ri 19 G8,6 this e. rise rn bl e "E life.r pe " will premiere
"Manu teriersi " a work for 4 Electronic composer /performers and a human solcdst/conductor
playing The Hands .

Museum robots

The Stedel ij k N us e um i n Arriste rdam hosted a C rac k.1 ebox exhibition w here so me of Wai svi 3-4 ea r I
musical robots were rez;po ridi rig to ca res me rit by the audience
.

Waisvis2 performance "Corif rontation wit h a paper-point-head" was part of "-Sc+nc+rita

Prospettiche" Rimini Italy 19'EIC .This perfo raia rice was done tiga %eery :=rriall paper cone shaped
robot that could move arri u rid and through the audience that was grouped in a sort of boxing ring .
The paper-point-head "imitates the audience in an oral way, but it %.,,ill not do this correct . The
little mi ntake3 will be of musical i mpo rtance . "

Waisvi sz designed a co rice pt fo r a n exhibition of a group of very light batte r ij - pcowe red m usi cal
robots that float through the museum space . The pro Ject deals with group behaviour of robots . The
"Floater ::" perform a very dez.fi rict social beheaviour' that float; betvaen personal gravity, social
attraction or repulsion. The Floaters %,;,ill be realised in the near future .

Ballet Music
Waisvisz composed 5 work:s for ballets choreographed by New York resident Dutch choreographer
Ton Si morls. Except for "Ikoorl" they were all tape-compositions . "E arneubelkarrlengelmoeo",
"Commonplace quintet°, °Rondo°, "Gee n Beweginq° .

Film music

Wai=~visz worked on music for films of the Dutch independent filmrnaker Frans Zwartjes in early
se'v'eties . Together they orgarli :-ed music theatre trainings at the Free Acadernie in The Hague .

Blitz

Ytaisvisz is working on a piece that',;iill be performed in the open air and make :_ use of explosives
and electronics . A musical vo ;;abulary is created by choice of the requi red chernical compound of
the explosives (pitch, loudness , tirribre) and by selection of the apropriate spatial
location
;distance and positioning under earth or water etc) . The electronic_.-; are IJ~Pd a?
detonator" ., as
as to create a suitable accorrlpanyrrlent . A special indoor version is considered
after achieving a
sufficient amount of co ritrrril o .;'er tri p c; hp miral instrumentalists .

Jeti

For the Apple Foundation in Amsterdamn Waisvioz developped a concept for extra- terestial
communication . He assumes that the most efficient way to start a cornrrlur.ic .tion with unknown
intelligencies is to send as much received space-noise bark into space a.. po aitile . In 196, 6
this
instrument will start operating for the period of a year . The Yeti -rrlachir:e will be placed
in open
air . Visitors can see and studie all records of received and transmitted space-
"noise".

Adresse-,

Claxon Alexander Boers.straat 16 Amsterdam

Steirn Groenburgwal 25 101 1 HR Amsterdam ( 0)20-228690
Euterpe Postbox 2 700-} 10 02 AA Amsterdam
 M{CHEL WAISVISZ

Bomin {949Leiden SbrtedpbyinqwithshoK,/overeoeivesot4 .

\/mrkE,dasnpv/spapercorrector amdmusiojournalist at 16 .

DiUtheatre liphtinyfor ayear onJeo(predoo 4rtSchool (DeY,ije Aoademie-TheHogue) .

'Started giving concerts xi{h home-mode eleotro-mechanical inMrumpnts a{ 18 .
~ uund^d o studio for imu_;-.'o -it the art-school and started teaching at 19 .
Started workinginMeplpdronk music studio ofthestudio o/thpRoyal Conservatory o/thpHague vith
Dick Rooymakprs asmentor . Many solo Performances .
his
Developed first p\potroniomusio-instruments at 20 .
Bu8ded ~l~c~m-ins~rum~ntol sound instruments for the opera Remnstrootivn ofwhixh the collective o{
composers
became the founder of STE111 .
Composed andperformed several vo'ks uflive electronic mu~ic/"Impulse "Explo" "Gullivprs
^, '
Travel")
Produced and acted in a serie of music theatre works together with Mlmmokpr Fraos Zvortjes .
Composed andperformed fhe music: for Harry Molishs'theatreploy "Oedipus Oedipus" inthpHolland
Fesivial 1972
Got involved in(ho\/est - EuropeooimprovisaMon-soene Worked `xithViUpmBrpokpr,Peter Brotzmono,
MishaMenqelherg,Maorteo Altena,HooBeooink,Derek Bailey, Steve Lacy and many others
Started an ins~romen~-developmpn~ project o{ ST[!M out of x'hich the Crackle-boxes evolved .
Played at most of Europa's free-music festivals .
Formed adoovithsinger aodactress MoniekToebosoh ; extaMc reactions ioHolland, 0ermon':" Sweden
'
ondFrance.
Founded Claxon together with composer and bassplayer Moor(eo Al(eoa . /n 1986 they will oryante the
5th edition of their Cloxon Sound Festival .
%Yoisvisz' oraxklp-synthpserpieoes appeared on Cloxonrecords un&r the tiOp 'Crackle"
Left theimpro,iedmusic oreawd started to perform "one mar, sho^,s"( "Het Anorohistenbol" . 'The
Voisorook")
Wrote and direded one of Us first music theatre pieces entirely performed
by robots (^De Slongels^
Holland Festival 1981 )
Beoomp the artistic.. director of STE11-1 .
Became the "idpa-generotor"forPandora's Music Goxononoudin(ernationa!Npx Wave festival held in
the Rot{erdam0o ;% .
Realized thework "Beat Conoret" (oomno04~pdbg ;PR0radio )inthe Amsterdam C:noertgkou`- 5
1984 !othis pipoetv/oFairliqhtCM!and3Yamaha DX7'swere uuot,olledby onov musioaloontrol
instrument by Waisvisz 'The Hands" .
Started composing for Us Hondsand3 DX71 in 1985 'The Coodu-:tor" (performed at the miernatbnal
[}extronixMusioFestivalinBour0es,FridricinnymKossel,Y)eeshalMidddhur0,CentrePomyidooPoris
.)
Mo
FinnisheUhisfirstoperationaloompotprprngmm : thpMousioomTre*(ovisual control instrument playing
musioalnotps ondmotifs using iheMacintosh "mouse"-ioterfaoeandoMIDI encoding system )just before
the
To OR" of 2odST[!MSYMP05!UMONINTERACTIVE COMPUSN0!MLIVE ELECTRONIC. MUSIC io
novembpr1925 .

%,,`iObetouring Europe, LISA and Canada with the Hands arid a new piece .
(s *orkin0 on the creation of an ensemble of outnmated composing performers "Eoterpe" (composing
vomputer - musio - "rohots"tkatattempttounveiltheirionermosicolthoughts,hy their visual appearance,
vhilethey work, conducted by a homanperformer using The Hands) . Premiere isplanned inthespring of
1987vdh "MonuTeoersi^
MaOrits RUbiDSfOiU

Dvro in I 964 in The Hague

Started!ovork/orSTE!Mo/tersohoolperivd .
Rayed Me droms in Art 142,aodtoured {he Dutch no*waveeoonuerto\ooes
Developed into omp of the leaMog souod engineers for- nevi music m a short period . \~orked Ds technical
ass`stont /or Stockhausenduring hisproject at thpTh*HogupConservatonum/orMusiu .
Afsi-:~ted,ordos ;ynedthpsooodse{op,anddidoperationo)souodxork/oroev music P)mpoiers and
p*fo,mers as : Francs|1oripUitti,the 4SKOenspmhlp,MoniekToebosuh,Dbmando0oUosetc .
Aspmb!pdthemicroelectronic sound"onima)s"forFp}ixHess' ^Frog^pro1c-0 .
in Wake he vorked{orUoafhanke llijkToneel ' Stiohtinq0onsresearohandothers .
RubWondesigned theoomplelesuundinstallation forBarbwavanLoon's- balletv/harbouroraoeS
TWO Uze^insummer 1985 .
He ahoUidthp tpohnioa)set up Ar the soundeffeots durinyPandora's Music, Box 1985, and didthe
operational soundoootrvlfor tkc- C)axonsoundfeshval in 1964
H^ heoame sort of knov/o to a vider public. m Holland as "npefp M" t- ; doing the soundtechnique during an
in{pr,iev/ of Rpna{e Rubiostein W . the Dutxh Cmxoprine \/illem Alexander .
Rubinstpin xos responsible for To so.`»Anhniqoe of oll of Woisvisz concerts in the last 3 year arid will
bur wi+hhiminEurope and he USAin 19S6
'HANDS' by niche] tlaisuisz
l TECHNICAL DATA SHEET jan'06
Phone 228690 flasterdou I engineer : nourits Rubinstein

Hello,

We will bring The Hands and

ch .I Ch .< ch .2 the 3 Yamaha TX7's .
The soundreinforcement
equipment is to be provided
by you . The following list is
meant as an indication of
the classification of the
system_ We will not accept
lower quality . Please contact
us in case of doubt_

Soundcraft 200 (min-6 in 4 out) mixer

Quad 450 or Yamaha amps
JBL Prof Series Mod 4623 loudspeakers
Power reference : E00 cubic meters - 6 JBL's

Build up time - after

ch .2 installation of the
ch .3 ch .I soundreinforcement
system : ± 30 minutes
-----------------
Soundcheck : ± 45 min_
performance space The TK7's are off stage
so - change - time in case
v

----------------
of festivals i s very short

mixer The mixer should be positionned

in the best acoustical place
audience
within the audience . Maurits
Rubinstein will operate it
during rehearsals and concert
 sound track production and in all ti`le variec:"q or
audio and pertor-nance art. STr.I I also scor-Sors
concerts of t`1e work or our collaborators rcr tie
Amsterdam Communir~r and presents won mccs
!n i:olland and at studios and Coruereac,,S
.;:rOUUHCUr E. aroct and

is UCICUt In Aa lel eu_r work - in live _pt-orT .nc,.

=ong its klnCi, . an electronic :music studio S- dltil recording studio :s Set .!C _:d
dedicated to live ce; ormance. Our work :s r
Dr=ariiv geared towards the dtvtloomtnt or _evoiution currentiv along r-dace ":d1C
rit,w music a.1 instr'aments and software rcr Cec lnicut . With Midl auto maricn a__d Z-121 .1!
CtrrOL"rlanCe, though collaborations w1Li a.rt:StS audit, tae line bttwe°__ . li"Ie
in other media a;e welcomed . At STEItif we tact m_ic s nC longer yea. . Sl%:e.. _ '
receive musicians or ail varieties and political or orese:^_ :atier. 0r_C°
Ctrsuasions dra:vr only by the i!tness oC ltzZSS!t'J .ire ntW a _ .t : Or -t
CeC.~n010~'v CO G:t rtaii .aL!Cn Or t.ae:r ar:St:C gC ~S . .._.^:d GeSic:, Sta__ are dtd-Cate,_ :C . ._ .
..g OL aeS~ ~.:i: .
tiL a under~Gir.C :1:3 'or reGr`- :i:.ation
resDenst tC w _at we yDerceive as Iie caa:_
_ .._anon Or Music _..___n c oZ7,- 7' e distinct
~e^wee_ . _ e ',vCr!dS or Music ;race !n :tee St'-Clo -=Cer CL -'rOItCtS ~, Cne
DtrrCr___.. ... t Cr Stan'-
CCC; =-tasi-Z_ an-. CeC=e :sir z _;
Sa.:.e t_rnt. . :-:e _-C ..VSe S re-at_"~e tC atSC _S Cr:e
_Cr=S '.._t.: C .ACM .____ .'.S 'vZ"nerl .__~. mere Cr
:'_rice 'ICU a Dal: or : e
.. .r_t-c~ .de . ~Jt! ::=CC.~r__ =CWe`ier !S -0 10-2--
Comruttf music a nt lca~ZPf .nterest_~~ ;_.ZfSe SCt',_L ".!Ci:L
St CeCaaSe 1C !S ne` .v. _ :~ :__'cr3t:0II or d"Z_ -rCC_SS .
, .._::nicues cut or :---t academic studic Lnto ::it
=`=e_ -world cr Music :s t__ .. cause or a real de=~ Recent ST deve"COMe:lts
CL Osta1gi" =Cr _ raC;ii~' iaccra:: 1_c C;Stii~Ct:C = .
_ _: :nz Sarn~ ~ :mt . .__novae-OnS .__ the CaCtieSS THe Hands " The Se :lsor Lab " T::
Stlld1G :L~e ^rG''%C'ii:: -' re`li~Ial or -Itnefacle Cafe' Snide : " The tiiidi Conductor " The - ..__
0nC .' CAL : GL Gloves " Tile Lick ~facHine " Deviator - Biz
der nitlor_ or _ _Ce Music, and are _ow real:bit Eve - Lisa - Midi Concertina - The Sweatst:C-i
_errC r=an Ce .

~T=ItiI offers researc _esidercies, assistance -.vi~_ :Cr a:Crt !nrOlilat:On .

",-Stvt~1 Scr7vare .c SzuC-C Call or w%rt
ClZs and OC_`le : CCrr-:s or SUCCCrt :O =COser
OL e~tCtrO- :r:SL;1 ;T:e_^a?~ - usic. i at C:teat_,On 0 :
STEItiI
Convtf^:r-trim !istr=nzs arid :=:t adactat:Cn
Or t -Szi_^_°' ones cc :C :7t"v !aeas are car: c : The Scudio for
1,
STE.I \ Xs aaliv work. Growing ~w:th t_bls wcr~ Eectro Instrumental _lusic
..as ~CZen Cur e:CCert :se in tilt dts :gn of
emcedde'~ M1cropccCesstr SVSte :ns . i his r
nas ~_CaLer^raCnC l
a 0 -,ved us to aptiv evolving sort-mare 0? , W' _Amsterdam
technologies to ti1e soluncrl or musical and Ti,.e ~etaeriands
ar--istic pro is. eel : 0'_0_62_1 96J0 :air : 0? 0-(? 6~=j-

On the , premises or' STE.Iti[ in the center or

~.rrlsterdam are workshops for hardware and
Sofrware design, recording studios and ateliers for
resident artists . Tee ~worK at STEItiI is managed
by a staff or Ctn with an operating budget
provided by the Durr- :1 government. In addition
Co strictiv .musical worn_{ STEI-M is open Co
Collaborations in music-theatre, video and film
 BigEye
Realtime Video to Midi Software .

BigEye is a computer program to change . A simple example: the

designed to take realtime video new event causes a note to be
information and convert it into midi switched on, a move event causes a
messages . It runs on any pitchbend and a disappear event
Macintosh computer running causes the note to be switched off.
system 7 or later, QuickTime 1 .6
and the Apple Midi Manager or To specify the midi to be sent out
OMS. It supports all QuickTime the program provides for two
compatible video digitizers, distinct modes: a simple mode in
including cameras like the which the user can specify midi
Connectix QuickCam, making it parameters and screen changes:
usable for PowerBooks and other and a powerful, complete scripting
non-AV Macintoshes. It is also language that includes a real time
possible to use prerecorded scheduler, conditionals and loops .
QuickTime movies as a video input In the simpler environment one
source . can quickly link to midi most of
the causing object's parameters,
Due to the the high demand on the such as position, speed and size. In
computer's processing resources it scripting mode one has many more
is advisable to use as fast a parameters available . BigEye
computer as possible. Typically provides for 16 independent
achievable frame rates range from 'channels' which can analyse the
2 frames per second on a incoming image in different ways,
PowerBook Duo 210 to 12 frames allowing, for instance, green
per second on a PPC 7100/66 to the objects to act differently from
full 25 on an 8500 . objects of other colors .
The user configures the program For more information, contact
to extract objects of interest, based
on color, brightness and size . These Tom Demeyer
objects are tracked (up to 16 simul- STEIM
taneously) and their position is Achtergracht 19
checked against a user-defined 10171 WL Amsterdam
series of 'hot zones' . These 'hot Holland
zones' are drawn by the user and
are grouped in 'screens' . ([email protected])

Objects and 'hot zones' interact in

three distinct ways : a zone sees a
new object, a zone sees an old
object moving, and a zone sees an
object disappear. Each of these
three 'events' can generate midi or
cause internal program parameters
 Image/ine
Image/ine is a program that allows the functions
user to manipulate visual source " auto-dynamic control (LFO's)
material in a digital video environment : " unlimited combinations of the
above
" video (live and recorded)
" QuickTime movies For example, to scale (zoom in and out)
" text an image you might assign the mouse as
" scanned images the controller, scaling as it moves along
" pict files with alpha channels the X axis . Or, you might assign scaling
to the data slider on your Midi keyboard
Unlike digital video editing programs or you may want it to function auto-
such as Adobe Premiere, Image/ine dynamically.
works in real time. There is no
compression slowdown, no rendering time Although Image/ine is not an editing
- the digital filtering effects are program, the composited output can
immediate and variable . have the appearance of a well-crafted
video with a surprising array of effects.
Image/ine's strength lies in the ability to The ability to synchronize the program
integrate and combine three basic to a (midi) clock and capture the output
techniques : makes it possible to use Image/ine as a
non-realtime video effects machine as
" Keying well.
" Temporal manipulation
" Image displacement
For more information, contact
By combining these techniques with an
abundance of input possibilities, variable Tom Demeyer
parameters and a wide range of STEIM
controllers (there are over 60 Achtergracht 19
parameters and 27 assignable program 10171 WL Amsterdam
controllers), Image/ine becomes a
dynamic imaging tool. Add to the mix the Holland
ability to control all functions with Midi (tomd@xs4all .nl)
and you have your hands on a powerful
download demo : http ://www.xs4all.nl/-steim
performance application .

As a time-based imaging tool, Image/ine

allows the user to assign controlling
parameters to all the functions of the
program . This can range from:

" total computer keyboard control

of all functions
" full Midi control of assigned
 Lisa vi .lo
LiSa (Live 5aaampling) is a real-time Each Preset can have different Zone
audio manipulation environment that assignments for each of the 16 midi
runs on any Macintosh computer with channels, so flexibilty is the keyword
a PowerPC (PPC) processor. The here.
program uses the 16-bit AD/DA
converters of these platforms and the LiSa does not try to compete with
computing power of the PPC RISC hardware samplers in terms of
processor. This combination turns the ultimate sound quality, no, it tries to
Mac into a versatile audio sampling compete in terms of flexibilty. One of
machine, able to generate up to 64 the more important features of LiSa is
voices on a fast PPC604e equipped that at all times the user is able to
machine. Complete program control is record new samples in the Sample
possible via Midi, thus allowing the user buffer, not only while other Zones are
to work with this system in a playing, using this part of the Sample
performance environment. buffer, but more than one recording
Zone may be active, meaning that the
The system contains one big Sample samples can be recorded in different
Buffer, and the user defines so called parts of the Sample buffer
`Zones' which have access to some part simultaneously!
of the sample buffer. A library of Zones
can be created (more than two To use the program you will need:
thousand) and each Zone can have six
different functions : Any PowerMacintosh computer with
1) Playing back the sample buffer's System 7.5 or higher.
data (start and length as defined by the
Zone) in various ways. OMS or The Apple Midi Manager
2) Recording audio data into the sample (driver, manager, patchbay).
buffer (start and length as defined by
the Zone) in various ways. Sound Manager 3 .1 or higher.
3) Reading a sample file from disk into
the sample buffer (start and length as
defined by the Zone). For more information, contact
4) Writing part of the sample buffer
(start and length as defined by the Tom Demeyer
Zone) as a sample file to disk. STEIM
5) Copying data from the `Output' or
`Process' buffer back to the sample Achtergracht 19
buffer. 10171 WL Amsterdam
6) Reading saved recording data into Holland
the sample buffer (start and length as ([email protected])
defined by the Zone).
download demo : http://www .xs4all.nU-steim
Since the user has access to these
Zones thru Midi, the top layer of the
system is organized as `Presets', each
Preset enables the user to assign the
Zones to one or more Midi note events.
The program can store up to 128
Presets, whereby each Preset can load
a so called `Preset Image' (sample file)
into the sample buffer in various ways .
2nd STEIM SYMPOSIUM ON '85
INTERACTIVE COMPOSING IN
LIVE ELECTRONIC MUSIC
Jsbreker'6,7,.5 november Musicom 9 & 14 november

IJSBREKEk TALKS

IJSBRE~,ER CONCERTS MUS I COM

EXHIBITION
GUESTS
 aooooooooooooo SPECIAL EDITION oooooooooooooooo

DDD STEM NEWSLETTER UFIE]

6, 7 and 8 november 1985

De l1sbreker Amsterdam

STEIM live electronic music festival

2nd STEIM symposium on interactive composing in
live electronic music

Q and 100 november

Mercury hot,,-,I Nieuvregein

STEIM exhibition at Musicom

STEIM is in the process of organising the annual STEIM symposium on

interactive composing in live electronic music . Last. year the symposium was
integrated with Musicom, the principal Dubch electronic music instruments
fair. HoT,%lever, this ,year's symposium, as well as the new STEIM live
electronic music festival, will take place entirely in Amsterdam's new music
center, De I jsbreker . There will also be an exhibition of new STEIM
instruments at. this year's Musicom .

The Symposium

The l96` symposium is focusing on a meeting of exponents of highly

personal approaches to live electronic music composing /performance
systems and representatives of the more traditional users of "big systems" .
The cornnion ground is the desire to work interactively and use the
increasing power of the so railed "small" systems.
Daytime meetings are divided into one-hour sessions, at each, invited
composers will introduce a subject followed by discussion .
Among the topics are : MIDI-controllers, psycho-acoustic problems
encountered during live -composing, interactive compositon algorithms for
personal computer systems, implementation of Fortli on the Yamaha CXC_~, a
rolling computx-r music robot, a distinctive approach to accompanyment-
systiE-rns, automatic composing sTistems and performance control-
systems .

As at last year's symposium, there will be a meeting to discuss the

improvement of information exchange,, specifically research facilities and
concert-possibili ties available to composers and soft- & hard-ware
developers working in the interactive composing field .
will
The following composers ;ive introductory talks :
Martin Bartlett., Peter Beyls, Clarence Barlow, Don Buchla, Roger Dannenberg,
David Wessel, John Cho~:%-Tning, Martin Sparijaard, George Lewis, Joel Ryan .
The host will be Michel
A limited number of guests can attend the symposium .
Regi.-i:- ;ter as :- -,- oon as possible at STEIM .
Contact :
r'TEIM Gabrie Lantinga Groenburgwal 25 -- 1011 HR Amsterdam

Registration costs 7 .c) Dutj--h guilders for three days (concerts not included) .

The live electronic music festival

The concerts will be given in De lJsbreker each night at 2 1 :00 h .

"Nednesd,a7 6 : STEIM-residents
Martin Span;jaard, Joel Ryan, Michel Waisvisz, George Lewis.
Thursday 7 : STEIM-guests I
Nicolas Collins, Ron Kuivila, Clarence Barlow .
Friday 8 : STEIM- guests II
David Wessel, Don Buchla, Martin Baxtlett .

All pieces are live performances by the composers utilizing authentic

int.~ractive computer music systems. Extra musicians are. invit'rad to perform
in the pieces by Le-,,%hs, Collins, Barlow and Bartlett .
; are open to the general public . Reservations have to be made
The concert
directly with the IJsbrc,-I-.'.er weesperzijde 2 3 Amsterdam (0)2 0-68 1805-
The exhibition at MUSICOM

This is MUSICOMS third year . Among international electronic music

instrument
fairs it. has rapidly evolved in importance due. to its particular
combination of commercial displays along side of the original products- of
individual artists, researchers, Audio's and centers like. STEIM.
STEI M %Till show the new "Hands" a MIDI- gesture controller arid "the
Mousicom tree "1 a. visual MI D I -controller that uses the Macintosh-mouse
interface . There v7ill be demonstrations by some of the composers of the
and
symposium also 1::-y Peter Dessain 'Who %411 demoristratle, musical
;"
"computer-tool
that. lie v-7rota in the comput;-,r language LOGO to generate
MIDI-signals . .
For
additiomal information contact STEM Gabrie Lantinga or MAN
VI-Taisvisz .
Specific details about the lectures livrill be available cat registration .
This -special edit.k,)n of the nev.7sletter is distributed to a *wider range of
addresses . Subscriptions to the STEIM newsletter can be ordered via STEIM
or during UIE; s""7mposiurn .
The
symposium arid festival are funded by grants obtained from the Dutjch
Ministr,,,,,T of Culture arid the City. of Amsterdam .
Comm uniceren
met het verleden
is fluisteren over
de toekomst

Stroom9eest
Groot Bentveld
 l
Zmda ®t9'/'ee./-
woensdag 13 mei 1996 3

i 'De eerste anonieme brief ken schillende vertrekken van bet

Het mvstene van Gro"o_

tog terzljde geschoven worden, landgoed. Het hoorbaae wordt
near bij de tweede en zeker bij zichtbaar gemaakt en bet zicht-
to derde gaat bet to veel kna- bare hoorbaar, vermeldt bet
,en:Waarom stuurt iemand bet persbericht .
Landvoorts Nieuwsblad anonie- gebouw in eon lommerijke tuln. een horrorfllm zljn aanwezig. dateert uit"1850. Een vennoot- ZQn reactie lost bet mysterie Het evenement gaat over de
me brieven? En wet betekenen Vogels, vlinders, voorjaar. Een Alleen de muziek ontbreekt schap onder flrma is de huidige rond de brieven niet op. Dat grens tussen zien, horen en voe-
le filosofische teksten en de il- witte auto in bet gras. Het groe-
nog. eigenaar, waarvan one Jack komt pas als de PTT een nieuwe len," vertelt Arend-Jan Weys-
lustraties? ne lick ziet er zwaarder uit dan Pas bij de tweede deur is bet Bakker bestuurslld - is. De vof klelne brulne envelop bezorgt . ters in heuse kunstenaarstaal
r'Richting geven Ian tljd gaat ~-, raak. Een vrouw doet open. heeft bet een paar jaar geleden desgevraagd . Schilderijen, ob-
trager den de verwachting". En: Koest," spreekt ze de verlos" gekocht semen met de grrand er"
~~ jecten en muziek, allemaaf ge-
,Open deur blljkt verboden toe- sende woorden richting bet ;omileen, Bakker wilde bet land- doopt in een sinister sausje.
rang voor ongelovigen." ' Maar zwarte monster. Een geruststel" ImW afbreken en de grand be" , Weysters: Het landgoed ademt
)ok: ,Communiceren met bet lend cllche: ,Ze bijt niet boor." 1 bouwen met huizen. Maar dat- ook een mystieke sfeer uit,
verleden is fluisteren over de Nee, de vrouw weet Netsvan de '" mag niet, bmdat bet een r1jks- daarom is voor Groot Bentveld
loekomst." Ze zijn geschreven brieven . Ze woont er niet, maar , monument Is.`Aileen woningen"" gekozen ."
ib geschept papier dat uit klel- is slechts op bezoek . - .bouwen .op bet braakllggende ' De anonieme brieven dienden
i1e envelopjes tevoorschljn  , Aan de andere kant van bet terrein aan de zijkant levert als lokkertje. HU glimlacht als
tomt. Op de eerste staat een gebouw, dat in een u vorm is eveneens problemen op. De ge- hlj hoort dat de brieven zelfs tot
Poto van de voorkant van bet gebouwd,-sleutelt een man aan meente Zandvoort heeft Bak- een barre tocht door Bentveld
Andgoed. Wie good kljkt ziet een beige jeep. ,Stroomgeest ker,in de tang: hij mag dat ter- hebben geleld. ,Onze opzet is
ten "wljzerplaat als gevelsteen Groot Bentveld, geen idee, noolt . rein wel bebouwen, maar, moot dus gelukt. We wilden eon sfeer
)p de foto. Die wljzerplaat komt van gehoord . Heel veel mensen .Aen ook bet landhuis en de tuln scheppen the bQ de manifesta-
krug op bet book (een soort blj- fantaseren over dit landgoed. opknappen. tie hoort . Een beetje geheimzin-
*l?) van de tweede brief. Op de De wlldste indianenverhalen . < ;Volgens een bewoonster van nigheid, vandaar the teksten .
verde staat de wtjzerplaat een- doen de ronde. Terwljl bet zo bet landgoed is_ hij op korte ter Het viel niet mee om ze verzin .
saam afgebeeld . Het book en de eenvoudig is. Jack Bakker is de mljn van plan to renoveren, nen trouwens, daar zijn we wel
wUzerplaat, en dat geldt ver" eigenaar van bet landgoed en maar Bakker zelf spreekt dat een middag mee zoet geweest."
noedelljk ook voor de letters, een aantal mensen huurt een een weelbe later telefonisch te" De manifestatte Stroomgeest in land
goed Groot Bentveld vindt plaats van
djn met de computer vormge- deel ervan van hem. Zelf woon gen.`,,Er ztjn. wel plannen. Dat 16 tot en met 19 met. Een concert met
leven. bet is. Maar den. Een zwarte ik bier tien jaar. lk hob zelfs een klopt weL--' Maar er worden al De brief brengt eindeltjk verlos- elektronische muziek opent op don-
. bond met de afmetingen van huurcontract voor bet leven." ' ^ - eeuwen lang plannen voor ont- sing- Stroomgeest Groot Bent- derdag 16 met om negen uur 's avonds
een pasgeboren kalf staat op. Volgens de man gaat de ge" :`wikkeld ' M1jn ideeM 'moeten veld is een manifestatle van 11 1n $TBIM (Utrechtsedwarsstraat 134,
r Stroomgeest Groot Bent- Amsterdam) bet evenement. Zand-
beid . . . Niet bekend bij' de Loom loopt zeopde ongewenste schledenis van Groot Bentveld met diverse partljen besproken kunstenaars nit Amsterdam en voorters kunnen ook op 16 met in
PTT: Wel bekend bU de bewo- bezoeker af. Ze blaft bloeddor- terug near 900 jaar na C"tus. worden . De gemeente, ja.1k'*il omstreken . Van donderdag 16 Bentveld om 12 uur 's nachts bii de
tiers van bet landgoed? stig en oorverdovend. ,Nie- In de loop der jaren liebben :; er verder niets over kwijt Wan- mei tot en met zondag 19 mei is opening aanwezig ztjn . De bizarre ten-
toonstelling is verder to bezichtigen op
Een zanderig pad leldt langs mand dringi mljn domeln bin- branden diverse bouwsels in de neer wel? Tegen de zomer, den er Met alleen kunst to zien, vrljdag, zaterdag en zondag van 11 tot
)ude bomen en eon vervallen non." Alle ingredienten voor as gelegd . Het huidige gebouw 'is er meer nleuws." maar, ook to horen in de ver" zes uur. Pas op voor de bond.
Driedaagse manifestatie van visuele en, auditieve kunst in en om landhuis

Bentveld
Een driedaagse manifestatie van beeldende- en geluids- bebouwd met zes extra villa's - Anna Mary Howitt, een pre-ra-
kunst richt tussen vrijdag 17 en zondag 19 mei weer eens een' -nieuwe besternming voor faelitische schilderes, vroege fe-
het landhuis zelf is nog niet ge- ministe en spiritiste. Matt Wand
de schijnwerpers op Groot Bentveld. In dit nagenoeg lege vonden. ontwierp electronische spoken,
achttiende-eeuws landhuis in Bentveld vervaardigde wij- De manifestatie wordt op die de bezoeker vanachter een
len kunstenaar Wim Steijn sinds 1948 jarenlang zijn donderdagavond, . 16 mei (21 serie schilderijen op de voet vol-
krachtige schilderijen en scherpe etsen. uur) geopend mqt; een concert gen met in het donker opglan-
van electronische muziek van zende ogen. Andere fotografi-
BENTVELD " JOHN OOMKES mers van het landhuis . Joel Ryan en Jerry Hunt in de ei- sche installaties van De Zeeuw
Stroorngeest heeft wel een gen ruimte van STEIM aan de en Heijnen bedoelen het verle-
De manifestatie Stroorngeest is magisch aspect, want alle opge- Utrechtsedwarsstraat 134 to den to bevriezen, al of niet in
een initiatief van STEIM, het stelde werken vertonen volgens Amsterdam . Aansluitend wordt samenhang met dat van het
Amsterdamse centrum voor initiatiefnemer Collins 'een. on- het eerste nachtelijke bezoek landhuis.
electronische muziek in ons zichtbaar effect, of dit nou door aan Groot Bentveld gebracht De manifestatie is van vrijdag
land, en heeft op het oog niets Freuds onderbewuste of door (entree concert en busrit 25 gul- 17 tot en met zondag 19 mei
to maken met de voorgeschie- klopgeesten wordt opgeroepen, den, reserveren 020-622 86 90) . tussen 11 en 18 uur toeganke-
denis van Groot Bentveld, die of dit nu door de ether of door In Bentveld komt werk tot lijk. Groot Bentveld is to berei-
door Steijn is medebepaald. Ni- internet wordt overgedragen.' stand van Christiaan Bastiaans, ken met buslijn 80 van de NZH
cholas Collins, een Amerikaanse De werken reflecteren daar- Matthijs de Bruijne, Nicholas (uitstappen halte Bentveld) . Wie
geluidskunstenaar die in ons naast ook het unieke karakter Collins, Ger van Elk, Jo Heijnen, met eigen vervoer komt, rijdt
land werkt, heeft samen met van het landhuis, zodat de be- Felix Hess, Joel Ryan, Steina Va- via de Zandvoortseweg richting
tien andere bekende collegae zoeker niet alleen een galeriebe- sulka, Matt Wand, Annie Wright Zandvoort, gaat linksaf bij
op het dwarsvlak van visuele en zoek ervaart, maar als het ware en Miriam de Zeeuw . Zo heeft naambord Bentveld op de
auditieve kunst een evenement to gast is op een groot en excen- Collins zelf de kameropera Duindoomlaan en weer linksaf
opgezet, waarbij speciaal ont- triek feest in een landhuis 'waar Truth in Clouds gecomponeerd, bij de Teunisbloemlaan naar
worpen installaties een week- de gastheer zich niet laat zien'. die de bezoeker van Groot huize Groot Bentveld .
end Lang zullen prijken in de ka- Het landgoed wordt overigens Bentveld het verhaal vertelt van

II
Als het glas over de ronde tafel beweegt, begint mensen bezochten het vervallen landhuis, wag
ergens in de kamer een stem to praten. Een vogel in diverse lege kamers iets to zien en/of to hors"
fluit. Er klinken pianogeluiden. Griezelig en mys- viel. Een perfect huis voor een spookverhaal e
terieus, met een sterke hang naar het verleden. dus ook voor dit evenement," aldus de Enge11"
Dat was donderdagavond tot en met zondagmid- organisator Nicolas Collins die zelf het idee vo~y
dag het thema van de kunstmanifestatie'Stroom- de s6ance met,het glas uitwerkte
geest' in landgoed Groot Bentveld. Zo'n duizend Foto Andrts Liebe
NST .

Contact Comfortvan Matthijs de Bruine in GrootBentveld (Foto Jorgen Krielen)

Kunst in een rijk Col geesten; maar omdat iedere kunstenaar een., tiende-eeuwsekamers is op zichzelf
Door onze redacteur . ..;, ..
HANS DEN HAATOG JAGER : : , ; v) i sfeercadeau krijgt die hij in eenmu-~ ; al een belevenis.Zekeralsje daarbij_:
BENTVELD, 17 MEL Spoken hou- ; scum of galerie zelf moet creeren- op merkwaardige beelden stuit als ,
den niet van regen. : , Van die mogelijkheden hebben de Hermits Heartvan Christiaan Basti-
En dus waren ze naar.binnen ge-.; elf deelnemers goed gebruik ge-, , aans . In een van de kelders - sar-
trokken, vannacht op de opening maakt: veel van de tentoongestelde dedonker, de vloerbezasidmetgro-
van de manifestatie Stroomgeest in werken gaan over angst, mysterie of te brokken puin en slechts to berei-
het landgoed Groot Bentveld in het het onbekende en lijken speciaal ken .via een wenteltrapje - draait
plaatsje Bentveld bij Aerdenhout . voor de vervallen kammes van Groot hij een video van een liggende man
De bomen voor de ramen van de Bentveld gemaakt. De Whispering - die telkens opnieuw in stof en puin ,
achttiende-eeuwse villa maakten Gallery ofReticent Spectres bijvoor- uiteenvalt - een beklemmend .
grillige silhouetten in de wind en de beeld, een ! installatie van Matt ,: beeld dat ook op andere ; locaties
regen kletterde op bet dak - bet Wand, bestaat uit een verduisterde goed zouwerken.
maakte de sfeer binnen er alleen , kamer waarin allcrlei geschilderde Uiteindelijk komen alle werken
op
maar spannender op . Want Groot portretten aan de wand hangen. Er , Stroomgeest bij elkaar in, de cen-
Bentveld is een haunted house, zo klinken wat gejaagde geluiden, trale kamer, gemaaktdoor Nicolas
wiilen de legendes die op de ope- maar verder is er niets aan de hand, Collins, de samensteller ;-.van
ning wellustig de ronde deden: alle totje gaat rondlopen en in alle schil- . Stroomgeest. De ruimte is scheme-
huwelijken van vonge eigenaars derijen plotseling kattenogen op-' rig, er staan palmen en een paar zit-
zouden zijn gestrand en er zouden _ lichten dieje vervaarlijk aanstaren. jes, en in het midden is een ronde ta-
allerlei noodlottige ongevallen heb- " De voorouders lijken je in de gazen fel neergezet met letters eneen glas
ben , plaatsgevonden ='sinds een - te , houden;-maar in werkelijkheid crop . Normaai worden de gegsten
jaar of vier staat Groot Bentveld reageren ze op de voetstappen ,van geacht het glastijdenfeenspiritisti- j
leeg. - i . .
de bezoeker-de Whispering.Galle-
ti sche seance.in`bewegmgto brengen,
nu vraagt een bordje bij de mgang
~, ,,

Zoais deigelijke legendes' 66k ry is een van de vele interactieve in-

~ :.,; de bezoeker bet glas .zelf to ver-
'

wilien, ziet alles op Groot Bentveld stallaties

. op Stroomgeest: ,
er nog uit of de geestvan de laatste De,_ Uslandse .; Steina . Vasulka schuiven . Dolt hij dat, Van klinken
~~, _
eigenaar ieder moment achter een maakte Pariah, een video-duedieop uit alle nissen~yan de tctimer
deurposi kan opduiken . De villa is een toetsenbord is aangesloten, zo- kozijn tot bloemenvaasje - gelui-
een doolhof van vervallen gran- dat je al pianospelend je - eigen , den: pianomuziek, vogelgezang of i
deur, met krakende planken, af- claustrofobische film kunt samen-.= een vrouwenstem die bneven van
bladderend behang, spinrag in de stellen en Matthijs de Bruine instal- Dante Gabriel Rossetti voorleest .
hoeken en .donkere krochten waar leerde Contact Comfort : een aantal Hoewel Truthin Clouds even myste-
je in kunt kruipen zodat piemandje gazen cilinders, bekleed met senso- rieus is als de andere werken op
nog ziet:Alsdecorvoor een horror- ren en een donzig vachtje. gaak je Stroomgeest is de installatie ook een
film zou het to clichematig zijn, die aan dan begint de koker merk- geruststelling: de mens triomfeert
maar in betecht blijkt het geen pro- waardige geluiden to maken - als- over de geest in de bloemenvaas.
bleem. In Groot Bentveld heerst dc , ofer eenwasbeerdoor eenrioolbuis
geest van Edgar Allan Poe. wordtgetrokken. - Stroomgeest. Tot en met aanstaande
Een locatie als Groot Bentveld is Lang niet alle werken op Stroom- zondag op Groot Bentveld,
prachtig om een beeldende kunst- geestzijn even enerverend, maar het Teunisbloemlaan, Bentveld
manifestatie to organiseren, al is het wandelen door de vervallen acht- Inlichtingen : 023-5248830 .