Wonderwerp
2015

--
BRINGING
THE LABORATORY
TO THE STAGE
--

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

No Patent Pending
Self-made performative media

iii publication

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

WORK IN PROGRESS
LFS1. - a light field synthesis

Immersivity out of a 1000 small parts.

CUBE
=

a Sphæræ production by Mike Rijnierse & Rob Bothof

Sand Songs : making of
Digging Piece

No Patent Pending series at Quartair

Quiet Before the Storm

Matteo Marangoni, 2015

25 Years of ArtScience Interfaculty
Shadow Puppet in Paradiso Amsterdam

Photos by Roger NBH

Should I Stay Or Should I Go [online exhibition]

29 May, 2020 - 01 Sep, 2020 at Quartair, The Hague

Works by: Wen Chin Fu, Matteo Marangoni, Daniël Siegersma, Davide Tidoni Questions around identity and migration are viewed through the individual experiences of members of the international artist community in The Hague. Tensions experienced while living in transition between places and cultures serve as fuel for new works.

Wonderwerp
2015

--
BRINGING
THE LABORATORY
TO THE STAGE
--

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?

No Patent Pending
Self-made performative media

iii publication

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.

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.

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.

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.

Rites for a New Utopia

Speaker Swinging

Listening choreography for Sphæræ

MAGNETOCEPTIA

WORK IN PROGRESS
LFS1. - a light field synthesis

CUBE
=

Sand Songs : making of
Digging Piece

No Patent Pending series at Quartair

Quiet Before the Storm

25 Years of ArtScience Interfaculty
Shadow Puppet in Paradiso Amsterdam

Should I Stay Or Should I Go [online exhibition]

29 May, 2020 - 01 Sep, 2020 at Quartair, The Hague

Residency Program

Peter Flemming

Gabriela Prochazka

Pelle Schilling

Joana Chicau

About iii

iii is an artist run, community platform supporting new interdisciplinary practices linking performance, technology and the human senses.

-- BRINGING THE LABORATORY TO THE STAGE --

Planets and Confetti

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

iii publication

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.

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.

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.

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.

MAGNETOCEPTIA

WORK IN PROGRESS LFS1. - a light field synthesis

25 Years of ArtScience Interfaculty Shadow Puppet in Paradiso Amsterdam

29 May, 2020 - 01 Sep, 2020 at Quartair, The Hague

Peter Flemming

Gabriela Prochazka

Pelle Schilling

Joana Chicau

iii is an artist run, community platform supporting new interdisciplinary practices linking performance, technology and the human senses.

--
BRINGING
THE LABORATORY
TO THE STAGE
--

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

WORK IN PROGRESS
LFS1. - a light field synthesis

25 Years of ArtScience Interfaculty
Shadow Puppet in Paradiso Amsterdam