Motus Sonus: De Fabriek
curation: Alesya Dobysh
sound design: Max Frimout
performed by Max Frimout, Alesya Dobysh, Kaide Gonzalez and Wennah Wilkers
location: De Fabriek, Eindhoven
date: May 29, 2022
supported by Corpo Maquina Society, Cultuur Eindhoven, UC Masters (EMOVES) and Muziek Hub Brabant (KunstLoc)
a series of improvised sketches based on the exploration of the acoustical quality of the physical space and its influence on an audio visual experience.
on sound:
ever since first hearing the raw footwork in Alesya’s solo ‘Stop Making Sense’ performed to one of his compositions, Max Frimout wanted to replace his analog chaotic physical models that are central to his performances with the sound of toes scraping and heels thumping on the floor. Faced with the problem of connecting this sound in real time with his improvisational setup, Max initiated the build of a surface that connects directly to his synthesizers, inspired by the amplification of concert harps with contact microphones. However, connecting this platform resulted in something deeper. A direct feedback between movement and sound; the physical perception of the floor is brought forward by the sound response of the platform, and this sound response is altered by Max watching a body move.
on movement:
the research, guided by Alesya, is focused on creating a series of tools that conducts deformation of a familiar body form rooted in House dance background into an abstraction. From that point they shape their improvised interaction with each other, space and sound from a different perspective: audio vibration produced by the movement becomes not only a result but simultaneously an input for the next movement, shaping a chain of choices into improvised composition and eternal interdependency between musician, dancers and space.
images by Patricia Hlbocka, Shuang Xu