David Pocknee: Composer

Compositions


Economics (2017 Version) (2010/2017) - for variable ensemble

For more info, see information on the original Economics, below.

score

Gray Winter Grimes (2017) - for flute

Performed by Kathryn Williams on 7 June 2017 as part of Coming Up For Air

score

The Pressure Is Off So Scramble Your Demons - (2016) for clarinet or bass clarinet

Realizations - (2016) scores

This is an ongoing series of scores that provide fixed realizations of existing works.
scores

We Doubled Down The Base Camps - (2016) for violin and 'cello

Written for and performed by Mira Benjamin and Gregor Riddell as part of nu:nord 2016 (nunord.net).
Huddersfield University, 5 August 2016
video

Digging Piece - (2016) site-specific event

18 June 2016, Zamdmotor, near The Hague, NL
with Ana Lemnaru, Grzegorz Marcinak, Adam Basanta, and Maya Verlaak with iii.
A site-specific piece for the event Sand Songs at the Zandmotor.
Video of the whole event here: https://vimeo.com/185026076

Selfhelplessness - (2016) book

A Choose Your Own Adventure Self-Help Book
"Choose your own adventure, no-one cares enough about you to do it for you".
A choose your own adventure self-help book with no answers and which will make you feel worse after reading it than you did before.

Format: 100 page book, A5 size, 6 copies printed.
Also available as pdf
Released: 2016-02-02

Go to Much Too Much Noise website: http://aces.ricercata.org/mtmn/

I Can Do Better - (2015) for player piano, pianist, video and electronics

(collaboration with Leo Svirsky and Ana Lemnaru)

"I Can Do Better" a piece for pianist, player piano, video and fixed media by David Pocknee Ana Smaragda Lemnaru and Leo Svirsky.
Recording by Angela Guyton (angelaguyton.com/) for Centre for Research in New Music (hud.ac.uk/research/researchcentres/cerenem/) at Huddersfield University.
The player piano is Winfried Ritsch's RHEA system.
The performance is from Phipps Hall, Huddersfield University on 25 October 2015.

"I Can Do Better" is a work in nine different related sections:
1. The Chord Catalogue (Redux)
2. Overture (Jazz Chords)
3. A Beethoven Mesostic
4, For John Bladessari
5. Augenmusik V: Blooper Reel
6. Augenmusik VI: Asch
7. A Canon MG3250 Performs Cornelis Cardew's Treatise
8. A Chronological Haydn/ Mozart/Clementi/ Schubert/ Chopin/ Schumann/ Liszt/ Brahms/ Faure/Scriabin/ Debussy/Satie/ Schoenberg Mesostic
9. Anything You Can Do

MG3250 Performs Cornelius Cardew's "Treatise" - (2015) album

MTMN001: MG3250 Performs Cornelis Cardew's Treatise
(Tray 1: Pages 1-94)

An inkjet printer performs the first 94 pages of Cornelis Cardew's Treatise.

Format: 320kbps mp3 recording with .txt liner notes
Released: 2015-10-15

Go to Much Too Much Noise website: http://aces.ricercata.org/mtmn/

Cipher for The Lighthouse Twins - (2015) for two performers

Work for two performers with specially made books.

Commissioned and performed as part of the Rock Paper Scissors Project with Inlets Ensemble.

The score is in the form of a book, which can be purchased at cost from the following online print-on-demand publisher: http://www.lulu.com/shop/robert-blatt/beach-bums/paperback/product-23006491.html. As it is a work for two readers, two copies will be needed for performance.

pdf version of score

Audio here

Nothing Is Surprising - (2015) for three performers

Work for three performers.

Commissioned and performed as part of the Rock Paper Scissors Project with Inlets Ensemble.

score [PDF, 2.9 MB]
dependencies: Inseparable by David Pocknee [PDF, 78 KB] performance grid [PDF, 38 MB]

Audio here

Video here

Almost Every - (2015) - for guitarist

Unperformed

A compendium of
almost every playable chord
of 1-6 notes
solely containing the note E
and consisting of fingered pitches or natural harmonics.
There are 319 chords in total, drawn from a corpus of
over 7000 possible (playable and non-playable) combinations,
based on an initial set of 17 single-note iterations
of the note E playable on the guitar
as fingered pitches or natural harmonics.

score

Some Analogue Heatmaps for Leo Svirsky - (2014) - for pianist

Repository #1 - (2014) - for performer

Unscored performance of works by textscoreaday, fluxus and myself.

Performance of Fluxus and @textscoreaday pieces - Hundred Years Gallery, Hoxton, May 2014.

Pieces:

David Pocknee - Parameters IX: The Obscure Moon Lighting An Obscure World Flip a coin to decide if you will flip the coin again.

@textscoreaday - #14 : Take a kiwi fruit. Cut off the top. Eat out the inside with a spoon. Place an egg inside. Replace the top. This is a “kiwi coat”.

@textscoreaday - #296: Exhale forcefully and move your fingers up and down extremely fast (musical instrument optional).

@textscoreaday - #86: Balance the entire contents of a tube of toothpaste on the flat side of a butter knife.

@textscoreaday - #250: Mvt I: All Combinations.
Mvt II: All Permutations.
Mvt III ("Triadophilia"): Everything in groups of three.

Ken Friedman – White Tooth Workshop Brush your teeth using a different toothbrush for each tooth.

@textscoreaday - #365: A perfect or imperfect cadence.

@textscoreaday - #209: A performer's photo is taken every 5 seconds. Between photos, the performer must run around the camera, returning to the same pose.

@textscoreaday - #231 (for The Longpigs): Love like you've never been burnt
Work like you don't need the money
Dance like there's nobody watching

David Pocknee – Drop It

@textscoreaday - #160: Leave them wanting more.

The recording playing is the first two movements of the 30min radio play "For London" by David Pocknee.

Plastic Cup Permutations - (2014) - for performer

Performed as part of Repository #1

score

Between Jailbait And The Dead - (2013) - for improvising electric guitarist and improvising internet-video-searcher

For Laborde I - (2013) - for ensemble

Performed on 21 February 2015 at Null Point 4. With Paper, Buffalo, NY, USA

score

The Laborde Guitar Collection - (2013) - for improvising guitarist

A set of structured improvisations for solo classical guitar.

Performed at Autonoom Centrum in The Hague in the middle of 2013, and in a basement concert in Huddersfield in late 2013

score

@textscoreaday - (2012-13) - a text score a day on twitter

A collective project. An experimental text score. 140 characters or less. Every day. Via Twitter.

https://twitter.com/textscoreaday

http://aces.ricercata.org/textscoreaday/

Some Sadomasochistic Aspects Of Musical Pleasure (2012) - Music Theater work

An evening of work by David Pocknee, Leo Svirsky, Ana Smaragda Lemnaru & Miguel Peres dos Santos

Performed on 18 May 2012 at Het Nutshuis, Den Haag
Second Half (Part I)


Second Half (Part II)

Pieces Performed:

First Half:


For Audience for Audience
Warehouse #1: Canvas I for Piano
Augenmusik II: Bangscale II: Fantasia for Clarinet, Violin and Piano
Trauergondel for Clarinet, Violin and Piano (by Leo Svirsky)


Augenmusik I: the grid is a terrible moment for sensitivity and substance (after John Cage and Jordan Mackenzie) [Extract] for Piano

Second Half:

Live Composing for composer and video feed (by David Pocknee and Miguel Peres dos Santos)
The Beauty of European Languages for Amateur Choir
Parameters I: The Myth Of Liberal Democracy for String Quartet
String Trio No. 1 for Plastic Cup Players
Labyrinth II for 2-7 players on one Piano
Parameters VII: Infectious Diseases In Cattle for 4 Dancers
6 October 2011 for Performer
Twister – for four performers (by Ana Lemnaru)
Cotard Etude #3: For JR for Performer
Parameters IX: Coin Flip for Performer
Match Piece (Health And Safety Version) for Performers
Parameters III: My Massive Pollocks - for Saxophone Duo (by David Pocknee and Ana Lemnaru)
Killing Floor for Guitarist

The Cotard Etudes - (2010-2012) - for performers

The Cotard Etudes are a series of pieces about sexuality, exploitation and the composition of social situations.

Cotard Etude #1: Heart Of Darkness (2011) - for people
Performed on: 26 January 2011, at Yaniv's house

Cotard Etude #2: The Kiss (2011) - for people

Cotard Etude #3: for JR (2011) - for trained/untrained solo singer
Performed by Jeremiah Runnels on 18 May 2012 at Het Nutshuis, Den Haag as part of "Some Sadomasochistic Aspects Of Musical Pleasure"

Cotard Etude #4: Heart (2011) - for choir of trained/untrained singers

Cotard Etude #5: Parameters VI: Codex I (2012) - for String Quartet

Cotard Etude #6: Towards A Positive Male Sexuality - IN PROGRESS

Cotard Etude #7: For Xenia Cage

scores

Prose Pieces (2010-2012) - for performers

A collection of prose pieces from 2010 -2012, some performed, some unperformed.

Match Piece (Health And Safety Version) (2012) for Performers
Performed by Maya Verlaak, Yael Levi, Corné Roos, Juan Alberich, Vladan Kulisic, and Cristiano Melli
on 18 May 2012 at Het Nutshuis, Den Haag as part of "Some Sadomasochistic Aspects Of Musical Pleasure"

Wood Piece (2012) - for Performer
Performed by Ana Lemnaru on 19 February, Poortgebouw, Rotterdam as part of Acid Police Noise Ensemble's Tearjerker

6 October 2011 (2011) for Performer
Performed by Jeremiah Runnels on 18 May 2012 at Het Nutshuis, Den Haag as part of "Some Sadomasochistic Aspects Of Musical Pleasure"

score

For London No. 1-3 (2011) - A Radio Play for piano, electronics, electric guitar, Środa Organ and Answering Machine

A 30 minute radio play, in which three answering machine messages give darkly comic monologues over a sparse texture of piano, electronics, electric guitar, Sroda Organ and Answering Machine.

Below is the fixed media radio play version, although it can also be performed as a concert piece.

No. 1 & 2 Performed on: 1 May 2011, Delta & 27 May, Korzo Theater, Den Haag
No. 3 Performed on: 20 April 2011, Koninklijk Conservatorium, Den Haag

score


Radio Play (mp3)

Proposition 2: Nothing is Born From Nothing (2011) - Playable Installation

Co-composed with Robert Blatt.

Second Proposition: Nothing Is Born From Nothing (collaboration with Robert Blatt) An abstracted, economically-challenged realization of both a string orchestra and Iannis Xenakis' pivotal composition Metastasis. 92 plastic cups and tin cans were used and connected through a series of metal and nylon wires. It was constructed in a gymnasium at an abandoned elementary school, which was previously the location for the Delta Centre for Contemporary Art in The Hague, The Netherlands. It was then performed by 10 players, receiving instructions via headphones.

Installation at Delta Center Of Contemporary Art, Den Haag.


Performed on: 17 April 2011 & 1 May 2011, Delta

Killing Floor (2011) - for solo Electric Guitar

Acid Police Noise Ensemble's "Potlatch" was a One-Act Aktionist Chamber-Opera.
Modular performance-art work created for an evening celebrating the Neoist art movement in WORM, Rotterdam. Blurring the distinction between work and leisure and art and life

Killing Floor was one of the modular sections


Performed on: 3 December 2010, Worm, Rotterdam
19 January 2011, Zaal 100, Amsterdam

Potlatch (edited):

score

String Trio No.1 (2010) - for 3 performers

Work for three performers utilizing their voices and a specially built instrument constructed from string and plastic cups.

Performed on: 1 July 2010, Poortgebouw, Rotterdam mp3
and: 22 January 2011, Studio Loos, Den Haag
and: 18 May 2012, Het Nutshuis, Den Haag by Los Caballeros

score

score

Bangscale (2010) - for the Nieuw Ensemble

for Flute (doubling Piccolo), Oboe, Clarinet, Harp, Mandolin, Guitar, Piano, Violin, Viola, Cello, Double Bass

Performed on:
Thu 8 April 2010 - Amsterdam Conservatorium 20.15
Fri 9 April 2010 - Koninklijk Conservatorium, Den Haag 20.15

score

mp3

Economics (2010) - for variable ensemble

Performed on:
13 April, Binkhorst, Den Haag.
7 June, Studio Loos, Den Haag (by The D€N HAAG A££ $TAR$ €N$EMB£€)
5 December 2015, CCRMA, Palo Alto, California
Performance of the US premiere of Economics by hot karl, along with some writing about it:
Economics performed by hot karl

score
mp3

The Institute Of ACES

The Institute of Applied Cultural Economics and Sociology is an independent research organization designed to provide a platform for the use of cultural economics and cultural sociology as the basis for strategic interventions into the art markets.

More info at www.acesinstitute.eu and The NFO Website

NFO: The New Fordist Manifesto - (2013) - Exhibition

For full documentation click here

The New Fordist Organization is a collective of composers, visual artists and performance artists, set up to apply the principles of mass-production, industrialization and mechanized creation, pioneered by the American industrialist Henry Ford, to the visual and performing arts. It is part of the The Institute of Applied Cultural Economics and Sociology, an independent research organization designed to provide a platform for the use of cultural economics and cultural sociology as the basis for strategic interventions into the art markets.

The New Fordist Manifesto

Exhibition Open 7 - 28 June 2013
Tuesday - Friday: 10:00-17:00
Saturday: 13:00-17:00

GEMAK, Paviljoensgracht 20-24, 2512 BP The Hague

Finnisage: 28 June, 16:00-19:00

Works by : Robert Blatt, Andy Ingamells, Ana Smaragda Lemnaru, Miguel Peres dos Santos, David Pocknee, Jeremiah Runnels and Leo Svirsky

The New Fordist Organization presents the results of its residency at GEMAK, Den Haag. Over the course of this residency, techniques have been developed for the mass-production of music, choreography, painting, film and sculpture in order to explore the economic, political and aesthetic nature of Fordist and Taylorist models of efficiency when applied to the arts.

New Fordism attempts to face the economic realities of contemporary art production by engaging in a radical re-reading of Gramsci and a re-appropriation of Fordist, Taylorist and Pavlovian theories and working methods. This theoretical assemblage is then articulated through the research-led methodology of The Institute Of ACES. The result is an affirmation of historiography as a creative discipline and a set of works which silently ponder on the nature of the creative act, cultural economics, and labor.

The New Fordist Organization is part of the The Institute of Applied Cultural Economics and Sociology and is a new collective of composers, visual artists and performance artists, set up to apply the principles of mass-production, industrialization and mechanized creation, pioneered by the American industrialist Henry Ford, to the visual and performing arts.

This project was supported by GEMAK and a Stroom PRO Kunstprojecten Grant

Below is full documentation for the New Fordist Organization's exhibition at GEMAK, The Hague, NL between 7-28 June 2013. Much expanded and more in-depth version of the Exhibition booklet including full works list, extended conceptual writing and comprehensive documentation of all works produced. It can also be read at the publications section of The New Fordist Organization website.

Link

Download

NFO: Manufacturing Style: The Art Of The Twentieth Century - (2013) - documentary

Documentary on the development of the New Fordist Ideology, and the influence of Fordist thinking on 20th Century art.

Collaboration with Ana Lemnaru

link

NFO: Conditioned - (2013) - performance

Written as part of The New Fordist Manifesto Exhibition. Full documentation here

In this work, a musical response to a set of visual stimuli is conditioned in a subject.

Two "performers", one the conditioner, the other the subject-to-be-conditioned, sit on either side of a divide, so that external stimuli from the conditioner do not intrude into the conditioning process.

In front of the subject is a screen, onto which symbols will flash, and a set of sound-making objects.
Each of the sounding objects is a sonic stimuli that was used to condition dogs in Pavlov's experiments: a struck bottle, tuning fork, horn, metronome, bubbling water, etc.
Each of the symbols on the screen is a visual stimuli that was used to condition dogs in Pavlov's experiments.

The aim of the work is to condition a link between the eight visual stimuli and each of the eight sound-making objects.

Before the piece is begun, a computer randomly assigns a symbol to each of the sound-makers.
The subject has been requested to eat as little as possible during the hours before the piece, in order to heighten the effect of the conditioning.

Once the subject is seated, symbols will appear one at a time onto the screen in front of them, after which they must then use one of the sound-making objects. If they are correct in guessing the computer's choice, they wll be rewarded with a small edible treat. If they are incorrect, the next symbol will appear. The piece finishes when the subject has guessed each symbol three times in a row.

NFO: For Frank Gilbreth - (2013) - for performer

Written as part of The New Fordist Manifesto Exhibition. Full documentation here

A piece which looks at the connections between the Chronocyclegraph Motion Study method developed by Frank Gilbreth, Vsevolod Meyerhold's Biomechanical Etudes, and the application of contemporary ergonomics to box lifting.

A set of cardboard packing boxes are stacked into files piles of different heights. Another packing box is filled with melted sugar, which leaks out of each corner. As this box is slowly moved from pile to pile, the sugar starts to solidify in the air, leaving a sculptural trace of motion. Simultaneously, two posters in the background echo the movements of the performer: a poster of Meyerhold's Biomechanical Etudes, with it's distinctive "box lifting" resting motion sits alongside a page from a book on ergonomics, showing the distribution of weight in the movement of heavy boxes and the method of moving them that places least strain on the body.

NFO: Part One - (2014) - video work

Collaboration with Ana Lemnaru and Miguel Peres dos Santos

link

NFO: Book Of Fluxus-Style One-Word Verb Pieces - (2013) - website

by David Pocknee
for Andy Ingamells

...

13718 verbs re-imagined as Fluxus one-word text scores, arranged in a random order that will change when the page is refreshed.

Some verbs appear in both English and American spellings. These small differences should indicate a subtle change in the approach to performance.

...

ANDY (leafing through Yoko Ono's "Grapefruit"): A lot of these scores seem like you just take a random word from the dictionary, stick "PIECE" on the end of it and then the piece is just that word with a full stop after it and the date...

DAVID AND ANDY: ...wait a minute...

link

Chronotope Series

A series of algorithmically generated site-reading pieces

Chronotope - (2013) - for site-reading pianist

Performed by Leo Svirsky on ???? at Leo's house

score

Chronotopes - (2015) - for any collection of chromatic and equally-tempered pitched instruments

Unperformed

score

Chronotope3 - (2015) - for two site-reading guitarists and toy pianist

Performed by Inlets Ensemble on 18 November 2014 at Check Cashing, Miami Beach, USA

Recording

score

Augenmusik Series

The Augenmusik series of works explores virtuosity through the use of difficulty as a composable parameter.

Augenmusik I: The Grid Is A Terrible Moment For Sensitivity And Substance (after John Cage and Jordan Mackenzie) (2012) for Piano

Performed by Leo Svirsky on 18 May 2012 at Het Nutshuis, Den Haag [Extract of Book I]
and by Leo Svirsky on 11 June 2012 at Southeastern Piano Festival, Columbia, South Carolina [Entirety of Book I]
The first of six books has been completed, the other five have been abandoned in favour of player piano version.

Book I Score

Augenmusik Ib-e (2015) for Player Piano and video

After finishing two books of Augenmusik I in 2012, I then returned to the work in 2015 to see if I could finally finish the series. However, after three years, I found that a lot of my aesthetic priorities had changed. This was coupled with a series of technical frustrations that made it impossible to realize the original plan I had for the piece. I was still interested in the perceptual differences in grid sizes on a never-heard piece of material, so I decided to render 4 versions of something like the original idea I had for the work as player piano works to be shown with video. Because of their length, I imagine they will only ever exist online.

Augenmusik Ib: Substance

Augenmusik Ic: The Grid

Augenmusik Id: Sensitivity

Augenmusik Ie: A Terrible Moment

Augenmusik II: Bangscale II: Fantasia (2012) - for Trio Spannung (vln, cl, pno)

for violin, clarinet, and piano

The Augenmusik series of works explores virtuosity through the use of difficulty as a composable parameter.

Performed by Trio Spannung on 18 May 2012, Het Nutshuis, Den Haag
and by Trio Spannung on 1 June 2012, at Codarts, Rotterdam
score (pdf) | mp3

Augenmusik III: The Picture Of Asko|Schönberg (2012) - for Asko|Schönberg Ensemble (ob, cl, bsn, hrn, vln, vla, vcl, db)

For oboe, clarinet, bassoon, french horn, violin, viola, violoncello, and double bass

The Augenmusik series of works explores virtuosity through the use of difficulty as a composable parameter.

Between 2009 and 2012, the ASKO | Schönberg Ensemble received €1,155,563 per year through the central-government run Fonds voor Podiumkunsten (Funds for Performing Arts), making it the fifth highest-funded performing arts institution in the Netherlands.

In 2011 they performed 112 concerts, of those, 55 of them were performances of Kurt Weill's Dreigroschenoper (The Threepenny Opera), accounting for 49.11% of their total concert output. The form of this piece takes every concert that the ASKO | Schönberg Ensemble performed in 2011, placed in chronological order, where every change in instrumentation or material represents a different concert that was performed.

The title of the piece comes from Oscar Wilde's novel The Picture Of Dorian Gray, but unlike the novel, in which Dorian Gray sees his moral decay reflected in a painting of him, the piece shows not moral decay but an attempt to justify continued funding through appealing to the only criteria that modern western-european governments think is a judge of quality: profitability and popularity.

So, in the same way that Dorian Gray saw his own sins reflected in a work of art – I present to you the Picture Of ASKO | Schönberg...

For more information on this subject, please visit The Institute Of Applied Cultural Economics and Sociology

Performed on:
20 April Grounds, Rotterdam
21 April Bernard Haitinkzaal, Amsterdam Conservatorium
22 April Korzo Theater, Den Haag
score (pdf) | mp3

Augenmusik IV: Paper Work (2014) - for Distractfold Ensemble (fl, cl, pno, vcl)

for flute, clarinet, piano and violoncello

The Augenmusik series of works explores virtuosity through the use of difficulty as a composable parameter.

Performed by Distractfold Ensemble on 10 March 2014, St Paul's Hall, Huddersfield

score

Parameters Series

The Parameters series looks at the parametricization of physical gestures and their re-mapping onto other physio-gestural parameters. This technique is then used to create internal feedback loops which generate their own material.

Parameters I: The Myth Of Liberal Democracy (2012) - for string quartet

The first version of this piece was performed by Hollas Longton, Ivan Babinchak, Maya Felixbrodt, and Asaf Gidron
on 18 May 2012 at Het Nutshuis, Den Haag as part of "Some Sadomasochistic Aspects Of Musical Pleasure"

score

Parameters III: My Massive Pollocks (2012) - for two saxophone improvisors

Performed on 18 May 2012 at Het Nutshuis, Den Haag as part of "Some Sadomasochistic Aspects Of Musical Pleasure"

Parameters VII: Infectious Diseases In Cattle (2012) - for four dancers

Performed by Teodora Stepančić, Catinca Tzilea, Melanie Dijkstra and Lucie Vitkova
on 18 May 2012 at Het Nutshuis, Den Haag as part of "Some Sadomasochistic Aspects Of Musical Pleasure"

score

Parameters IX: The Obscure Moon LIghting An Obscure World (2012) - for Performer

Performed by Jeremiah Runnels on 18 May 2012 at Het Nutshuis, Den Haag as part of "Some Sadomasochistic Aspects Of Musical Pleasure"

score

Parameters X: Micromanagement (2010) - for two guitarists, transcriber, and variable ensemble of 1-10 players

3 June 2010, PIP, Binckhorst Complex, Den Haag (Mvts. 1&2) mp3
13 June 2010, Arnold Schoenbergzaal, Koninklijk Conservatorium, Den Haag (whole piece)
w/ Yedo Gibson, Ingi Gardar, and Angus Barnacle. mp3
All parts and Max/MSP patch as .zip file

Parameters Xb: Micromanagement 2014 (2014) - for two guitarists

A more tourable and practical version of Micromanagement for only two players.

Performed on 5 December 2014, Fuel Cafe Bar, Manchester by Bird Rat Centipede

score

Max Patch

Acid Police

Acid Police Noise Ensemble's "Pars Pro Toto" (2011) - Installation

Co-composed with Acid Police Noise Ensemble.

Specially written for the Eavesdropping exhibition at Villa Kabilla, Den Haag. A continuous, five hour long work consisting of two separate rooms, connected via microphone. In one room, a five hour long performance involving the continual performance and re-transcription of a piece, surrounded by canvases showing the Dutch music subsidy system. Next to it, a performer in business clothes builds a nest from facebook information about the visitors. These sounds are transmitted and processed in another room, where they excite a bowl filled with non-Newtonian fluid.

Performed on 30 November 2011 at Villa Kabilla for the "Eavesdropping" Exhibition.

documentation

Stockhausen Serves Terrorism: Ten Years Of Sodom and Gomorrah (2011) - Music Theater Work

(collaboration with Acid Police Noise Ensemble and Anonymous Stateless Immigrants)

An epic, three hour long evening of music, theatre and performance exploring the dimensions of terrorism, violence, hysteria and the growing physical and virtual security market intelligence, exactly ten years after the collapse of New York's World Trade Center. Performed on 11 September 2011 at Nutshuis, Den Haag, the evening utilized the entirety of Het Nutshuis, presenting 15 different performances, often simultaneously.

The evening featured my pieces:

Asylums - for people

Crash - for 2 quarter-tone keyboards, monologue and video
Both Performed on: 11 September 2011, Nutshuis, Den Haag as part of
Documentation

Moving Image Work for Others

Tom Hartford - Prypat

Sophie Broadbridge - Blood On Hand

Sophie Broadbridge - Moments from a window ledge