Studies for sensitive hands (2005)

Studies for sensible hands:

I made the first prototype in 1996 at STEIM using the lick machine as a testing software: I finished the hardware in my second residency at STEIM in 1999.

I finished the gloves in 2005. 4 pressure-sensitive sensors in each glove. Custom exponential sensitivity for each finger. The gloves behave quite different with different sensitivty curves, ratios and pressure relationships between fingers. Using spider at steim, I defined simple parameters for both hands.

Intelelectual comment :

Any object has diverse cultural significances. I work with objects (like the simple wood-rule in the photo gloves03). By appling pressure with the sensors, these objects become an instrument that "sounds". (The manipulated samples through the gloves setup (sensor-lab, Lisa) become the "sound" of the object).

The three conceptual paradigmas of a music-instrument definition and history are, in my opinion, their cultural significance, their sound-identity and the way ...

Full Description

Studies for sensible hands:

I made the first prototype in 1996 at STEIM using the lick machine as a testing software: I finished the hardware in my second residency at STEIM in 1999.

I finished the gloves in 2005. 4 pressure-sensitive sensors in each glove. Custom exponential sensitivity for each finger. The gloves behave quite different with different sensitivty curves, ratios and pressure relationships between fingers. Using spider at steim, I defined simple parameters for both hands.

Intelelectual comment :

Any object has diverse cultural significances. I work with objects (like the simple wood-rule in the photo gloves03). By appling pressure with the sensors, these objects become an instrument that "sounds". (The manipulated samples through the gloves setup (sensor-lab, Lisa) become the "sound" of the object).

The three conceptual paradigmas of a music-instrument definition and history are, in my opinion, their cultural significance, their sound-identity and the way they are manipulated as obejcts.

By assigning any arbitray sound to any arbitrary object, I am trying to separate either cultural significance, sound-identity and object manipulation.

Any passive, manipulated object that sounds through specific artistic manipulation, becomes a music instrument. A programmed object (a computer), that sounds through specific artistic instructions becomes a music automata, a "resonance body" of sound dilemas and instructions.

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