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BRINGING
THE LABORATORY
TO THE STAGE
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SONOGRAFS

Planets and Confetti

Mariska de Groot

After all, who nowadays wants still to spend eight hours a
day of her or his youth, practicing the violin?

Godfried Willem Raes

a convivial tool is mastered by man and allows him to shape the world following his intentions, his imagination and his creativity. A tool that makes one autonomous.

[…] since our daily life has been flooded by digital technologies, I have tended to be wary of tools that are presented first as friendly but which in fact become actually essential to survive in hyper-competitive liberal societies.

Ewen Chardronnet.
..
     Maybe live performance is akin to setting up an experiment in a laboratory. You set out to explore one thing and on the way, because you are looking and listening, you find other things that are brought into focus by the attention itself.
Our sense of time is of course actually a gamble on the part of the nervous system (like consciousness itself).

We could argue that music is one way, we can watermark time consciously, it allows us to insert a bit of ourselves into the awesome noise of time. So that we can make this dimension we live in our own.

In this way the instrument is a kind of mystical machine, incorporating both a poorly understood phenomena and a piece of the material world, acting as an intermediary.
 
Joel Ryan and Kristina Andersen
..
     According to Husserl […] Science involves precise measurements and gives meaning to these measurements by finding mathematical patterns in repeated measurements, disregarding the uniqueness of each concrete occurrence in favor of repeatability.
[…] we took a rather Husserlian stance by

deliberately dismissing the utilization of recording and fixative media. Only the totality of an unfolding phenomenon, together with the observer in the act of perception, can provide the psycho-sensorial conditions for the emergence of meaning.

Evelina Domnitch & Dmitry Gelfand
..
     Like the paleolithic stone shaper, the engineering efforts of the media artist carry a certain innocence and simplicity compared to the perfection of mass production.
When the potency of a device becomes uncessary function and dysfunction become equally uncessary distinctions and we can think only in terms of the culture and material of the object.

It is also a bit of an archaic sensory urge, this desire to hack at found materials. Part of the sensibility of nature is its disposability — and with this disposability comes the willingness to test the tensile strength of materials.

Jonathan Reus

..

Rites for a New Utopia

photos by David in Den Bosch

Speaker Swinging

Speaker Swinging by Gordon Monahan
performed by iii at TodaysArt 2015

Listening choreography for Sphæræ

a Sphæræ production by Ingrid Lee

MAGNETOCEPTIA

“Magnetoception: a sense which allows an organism

to detect a magnetic field to perceive direction, altitude or location.”

Dewi de Vree & Patrizia Ruthensteiner

magnescopia dewi

WORK IN PROGRESS
LFS1. - a light field synthesis

Immersivity out of a 1000 small parts.

CUBE
=

a Sphæræ production by Mike Rijnierse & Rob Bothof

Quiet Before the Storm

Matteo Marangoni, 2015

25 Years of ArtScience Interfaculty
Shadow Puppet in Paradiso Amsterdam

Photos by Roger NBH

Connect the dots: "The Craft of Experience Design" Symposium

05 Oct, 2017 at Korzo, The Hague

An interdisciplinary symposium on participatory artworks.

Residency Program

Jenny Pickett, Julien Ottavi

Davide Tidoni

02 catch me if you can MICHELA DI SAVINO (1)

Dmitry Morozov

Yuri Landman

About iii

iii is an artist-run platform supporting radical interdisciplinary practices engaging with image, sound, space and the body