Fluid compostions

Anna Zelinkova,  started to experiment with a few kinds of plastics and slime materials….” I was interested about changing of their characteristic conditions. The changing conditions of starch substance I found very interesting, so I started to be more focused on this type of substance.
The character of starch mixture with water is changing depends of outside conditions – when it is under a pressure it gets start to be hard and crumbly, but when is material in peace position it behaves as a liquid (typical for non-Newtonian fluids). But I figured out that the same conditions has a puding powder (cause theres a corn starch) but it has also very specific smell and colour. This gave me an idea try to hack the starch substance and to find my ideal recipe for it.
I figured out, that substance becomes dry fast so I add some glycerine inside which helped hold humidity longer but also made viscosity character better. Another problem of substance was that too much of it stays on fingers so I tried to add sunflower oil inside. Theres still some pieces of material staying on fingers but its much better then before. I also made some experiments with colours and smells.”

After finding this nice weird substance I was thinking about how to compose it into artpiece. I wanted to make it playfull and funny. Nowadays I am experimenting with electricity audio cycles. So I tried to connect the substance project with cycle I just made and it worked very well – substance is also great conductor. This gave another condition to my material – sound. Its working on principe of back loop in cycle with using capacitors. I was searching for ideal construction of cycle with my emulsion and human. The image of musical instrument came very fast and it fullfilled mine notion of funny and playfull way of using substance. I figured out that very good for instrument construction is to use one hand for holding bowl together with solution and anode and with another hand play with emulsion with cathode fitted inside.
This can offer experience for sences and pleasure  of touching weird stuff. I also tried experiment with cathode placed in my mouth which can add another experience of taste.
The nowadays construction wiev of whole musical instrument is still in developing and there are some ideas how it could looks. Finally I tried if I can use just water from sink and also worked very well. But with these emulsion is much more fun! Iam still searching for musical instrument name….

Fluid composition: Starch, Pudding powder, Water, Glycerin, Oil, Colour, Fragrance



The Sound of Stone

My goal was to evoke absorbed sounds from stones. First I have tried to work with solenoids (linear motors) to beat the stones. Once I had the solenoids up and running I discovered that they were not very powerful and could not really produce enough power which resulted in weak sounds. To make the force transmission more efficient I tried working with levers, but this resulted in a a lot of ‘extramusical’ sounds. In other words, noise coming from the wood and beater of the lever, and of course the sound of the solenoid itself. Not a lot of sound from the stone itself, so I had to look for other solutions. By accident I met an acoustic scientist who works for Philips Research, and we will be working in their test facility from january onwards to try and get underneath the surface of the stones. Our plan of attack is to work with exciters on one side of the stone and sensitive contact/instrument mics on the other to obtain an impulsresponse from each stone. This can be made into a filter which I expect can be used to make a sonifcation/visualisation on infinite sound.
exiter impulsrespons
12_dode kamer


PDF  HOWTO_build-your-biosensor_2013



For the Veghel project I have been investigating the transmission of sound across the ages through rituals. I collaborated with a ‘vendelier’ from the Veghel guild and wanted record not only the sounds of the fabric of his banner, but also his muscles. To do this, I built a pair of Xth Sense biosensors developed by Italian artist Marco Donnarumma. While making recordings of the muscles I discovered there are a few extra features in the linked PureData software I don’t really like. The sounds are too dark in timbre, and the cables of the sensors were limiting my performer. I would like to look for workarounds for these issues, getting to know the software better and setting the parameters to my own preferences (collaborate with Sebastian). For the next recording session I want to get my hands on to wireless mic transmitters so the vendelier has enough lebensraum to execute all the movements of his ritual.
3_1 3_2 3_3

Angela de Weijer

Music Bonbons

Charlotte ’t Hart is working towards a Musical Bonbon  (in collboration with Karin van der Veen)

“As I was interested in listening to the inner sounds of our body I tried to make a stethoscope in the lab.  But I wanted to listed to the smallest sounds in the body like the cracking of the bones so I needed better equipment. Outside of the lab this research resulted in my stethofoon presentation.

Meanwhile there was Karin van der Veen who looked for someone to help her make “MuziekBonbons”. She wanted to listen to music that comes from chocolate. I came up with the idea of putting a piezo element in a chocolate and experimented with this in the lab.”


Charlotte: “This works because the vibrations of the piezo transfer through the bones of your jawbones to the little bones in your ear and you can hear the sound. You have to close your ears though to hear it better. But I don’t mind that, I really like the idea of handing out earplugs before letting people listen to something.

Another thing that came out when I tried it on fellow students is that you start drooling because you have to hold the piezo in between your teeth and there is a wire coming out of your mouth. This is something I still have to solve.

Alse there is the thing of the coverage of the piezo element because you don’t want this metal and christal in your mouth. My first experiment was with isolation tape, then I put heat shrikable tubing around the element an dipped in chocolate for a second version.

But it did not feel very comfortable yet and wasn’t very durable as well. What was very nice is that you did not have to bite through the chocolate to hear the sounds, you could just put your teeth on the chocolate.

Now I am experimenting with smaller piezo’s and planning on using epoxy as a coating. Also we are experimenting with different tastes of chocolate in combination with sounds.

I will present the first version of this work on my end presentation of this year, june 2012 together with Karin.

I really like that I sort of came back to sugar in combination with the human body!!”

Get in Touch

Get in Touch is a warm musical instrument that questions the way an interface influences our behaviour. The user’s experience oscillates between seeing the bodies in the installation as material objects and being aware of an anonymous kind of intimacy.


Matthijs Munnik, Ben Terwel, Charlotte ’t Hart started this project beacause of their  shared interest of using the
body as a material; “we wanted to create a human interface. The result  of our collabaration is Get in Touch: a work that is both installation, performance and a musical instrument. The installation  consist of a big cylliners shape, with human backs coming out of the openings of the fabric. Visitors are invited to touch the backs to create intruiguing noisy sounds. When you touch two or more backs, a connecion is made ans you can start playing. To change the sound you
apply more pressure. You can touch different combinations of backs to create new sounds.

This instrument questions the way an interface change our behaviour. As soon as you start playing, something strange happens, you forget you touch a humans. somehow this sensual action of touching someone’s naked back, is tansformed in an a-secual action and that body into an object. When you stop interacting however, you suddenly realize that you were quite intimate with the people inside the installation and suddenly the objects of the interface you were just playing with, become human again.

15875302-get_in_touch_1 15875350-get_in_touch_2

the top of the installation is hung from the ceiling, with the white
lycra attached. There are 3 holes cut tin the fabric, from where the
backs come out. On the bottom is a ring to pull down the fabric.
Inside is a wooden contruction from where the performers can sit. Each
performer is attached to a circuit bended radio and crackle box, which
is attached to a speaker. The installation needs space so you can walk
around it.

<p>Get in touch from Matthijs Munnik on Vimeo.</p>

Get in Touch is presented at:

develloped by Matthijs Munnik, Ben Terwel and Charlotte ‘t Hart