“play Peter Ablinger” is a project involving clarinetist Gareth Davis, the Julie Mittens and Austrian composer Peter Ablinger. A quasi music theatre piece exploring the aesthetics of noise/rauschen.

 

 

 

 

 

 

 

 

 

 

Our latest installment of the Graphite instrument  ore now called ‘ground’. Developed on and of in 2011 at steim.  Ground is an audiovisual instrument in which graphite drawings are used a control interface for several electronic instruments. Graphite is a conductor for electricity. By using graphite as a variable resistor (instead of a standard knob) the pitch, amplitude and sound color of sound generators can be controlled. The instrument offers a field of possibilities in which auditive and visual elements are interconnected. Several handmade synthesizers are deployed in a given performance and directed and controlled by the drawings.

Ground evolved during our stay at steim from a interesting concept with very basic sonic possibilities to a ‘mature’ electronic instrument.

Thanks to STEIM’s generous support, I completed a two part residency in September and October of 2011.
—————————————————————————————————————————————————
—————————————————————————————————————————————————
The first part consisted of preparing and performing a project entitled…

“2011 Meditations On Eurydice”

…which is an ongoing Live Cinema performance based on, in, and around the myth of Orpheus.
(The project officially began with “Orpheus 2010″ — also thanks to STEIM’s support)
check out the STEIM project blog for “Orpheus 2010″ at::: http://www.steim.org/projectblog/?p=1836
and the official propaganda for “Orpheus 2010″ at ::: http://www.seanwinters.com/livecinema

PREPARATION

For “2011 Meditations On Eurydice,” there were lots of things that needed to happen BEFORE I came to STEIM.

Three long days of recording…

Day 1 = String Quartet
[SOUNDCLOUD WIDGET SHOULD BE BELOW]
VarVIII(1stHalf)_2011MeditationsOnEurydice

Day 2 = Sean Winters TRIO + Jos Zwannenburg
[SOUNDCLOUD WIDGET SHOULD BE BELOW]
VariationVIIC_2011MeditationsOnEurydice

Day 3 = Percussion/Gamelan
[SOUNDCLOUD WIDGET SHOULD BE BELOW]
Percussion_2011MeditationsOnEurydice

Filming and creation of visual materials…

This is a still taken from one of the filming sessions in Amsterdam:

This is EMMANUEL’S first treatment:

This is EMMANUEL’S second treatment:

Needless to say EMMANUEL FLORES ELIAS is an amazing artist and it’s always a pleasure working with and/or around him.

IN THE STUDIO(s)

I started off in Studio1 for five days or so…

First of all, I gave myself a little bit of time to just play around and experiment with Pure Data & Gem.
I’ve intended to utilize Gem extensively for quite a while.

(below = Jos Heutmekers in Studio1, captured through the camera on an imac, put onto a sphere with Gem)

I could get pretty out there–by talking on and on about open source, Scriabin, and the spiritual revolution–but let’s just suffice it to say that Pure Data & Gem are both essential in my vision of what a Live Cinema performance should be.
The only catch is that, on top of the fact that they’re extremely time consuming, they can both be quite buggy.
I’d like to just take this opportunity to “shout out” to Miller Puckette…
You are a visionary who has truly changed what it is to be an artist in the 21st century; thank you.

After my PD/GEM experiments I got down to business and built what would eventually become the “Eurydice Masher.”

(above = the MaxMSP patch which “hosts” an 8 channel audio installation)
This installation happens in the foyer as the audience is walking into the venue.
All of the audio is taken from sources that are directly related to the myth of Orpheus and Eurydice.
“Black Orpheus” by Jobim / “Orphee” by Stravinsky / etc, etc, etc.

There are lot’s of other photos, videos, and notes from the preparatory sessions that happened in Studio1 and the set-up/experimentation that happened in Studio3, but alas, there are only 24 hours in each day.
Suffice it to say, that at the beginning of October, the crew and I (Jos Heutmekers, Sander Bolk, Jilt Van Moorst, and the Pin 4tet) set up in Studio3 for the performance of 2011 Meditations on Eurydice.

[YOUTUBE VIDEO SHOULD BE EMBEDDED BELOW]
2011MeditationsOnEurydice@STEIM

—————————————————————————————————————————————————
—————————————————————————————————————————————————
The second part (of the two part residency) consisted of moving towards finishing the project entitled…

“Ode Aan Het IJ”

…which is a collaborative effort with the one and only Andre Douw.

Exploring the concept of context, there are five installments that collectively form the “Ode Aan Het Ij” suite:::
1) The Bam Zaal installment which was world premiered in 2010 at the Gaudeamus music festival in Amsterdam, NL with the (micro-tonal) fokker orgel, a snare drum, and a quadrophonic “tape.”

2) The octophonic installment is an electroacoustic work to be experienced exclusively on eight hi-fi speakers.
[Available upon request; contact sean(at)seanwinters.com]
3, 4, 5) The stereo installments are to be experienced in three separate configurations; good speakers, laptop speakers, and headphones.
[SOUNDCLOUD WIDGET SHOULD BE BELOW]
“Ode Aan Het IJ” (STEREO) Good Speakers
[SOUNDCLOUD WIDGET SHOULD BE BELOW]
“Ode Aan Het IJ” (STEREO) Laptop Speakers
[SOUNDCLOUD WIDGET SHOULD BE BELOW]
“Ode Aan Het IJ” (STEREO) Headphones

Once again: There are LOTS and LOTS of other photos, videos, and notes related to this project, but alas, there are only 24 hours in each day.
For now I must conclude this post.

It has now officially become my custom to end every Steim project blog posting with the following line:::
>THANK YOU TO EVERYBODY WHO IS/WAS (or) WILL EVER BE AT STEIM.

During the 7 date tour of my band Author & Punisher of the Netherlands, I did a short residency at STEIM just before the Patterns and Pleasure Festival at STEIM.  My instruments typical involve some heavy CNC machining and coating processes, so I thought I would use my time designing a new machine for rhythm control.  Most of the rhythm midi/usb controllers I have made involve a cyclical motion of your body to create a somewhat organic clock or rhythm, but the the pace of the music is delegated by 2 fixed positions.  Lately, I have been very interested in encoding rhythms and texture in a different and more physical way; ie. instead of using effects and modulators in software, use physical texture to control a software wave.  For rhythm this will take the form of a landscape of grooves and a stylus (much like a record) triggering at each groove, and the notches will be laid out in grids with different line frequency.  The stylus (much like a spring loaded ball on a limit switch) will be attached to a very rigid XY mechanism with a handle and switches for each finger (designating different percussion samples).

For an oscillator, I am envisioning something very similar but the grooves will be notched onto discs that spin.  It was great to discuss some of the new interfacing technologies with the STEIM staff as it is crucial that the wiring and software be robust for touring and plane rides etc.   I will post more on these topics as the designs develop!

For now, I am sidetracked with building some voice modulating masks for an dark doom industrial acapella piece \m/ I am putting together for an art show in March.

 

The Experimental Performance Sequencer Arduino Shield is a looping event sequencer. It gives the user extensive control over several parameters of multi-channel, synced and looped sequences but obscures those controls in such a way that discourages one’s desire for precise control and predictability.
I developed this piece with Marije Baalman at Steim in August 2011.

My goal is to give improvisational electronic musicians a means of creating complex sequences without pulling their focus from the performance. I like the idea of sequence programming and manipulation as part of the performance and essentially as an instrument and have tried to explore that through this piece.

Video can be viewed here.

---

There are two key features which define the character of this interface.
First is that the devices uses timing quantification and clock division to ensure that rhythmic synchronization is always maintained. This stable component is what every other, more experimental feature is built upon. Syncronized timing of channels as well as parameter changes allows the performer to liberally manipulate the sequence parameters without causing disruptive rhythm misalignment. This enables the performer to maintain focus on manipulation of the sequences as well as the device being sequenced.
Another defining feature is that there are no scrolling sequence status lights (common in most drum machines) and no digital readout to indicate settings.
I want to remove the static reference point (such as sequence preset or step numbers) and encourage the performer to focus on the current state of the sequence. The interface is inspired by my experience with modular synthesizers. The inability to record and call back presets allowed me to instead focus on the immediate presence and architecture of the sounds and signal flow.
Other important features include:
-Tap based sequence programming. This allows immediate and intuitive sequence entry.
-Discreet clock division for each channel. Each channel clock can be changed on the fly while staying in sync with the master clock.
-Multiple banks per channel rather than the more common global sequence presets. Allows more flexibility to introduce change into the musical soundscape gradually one channel at a time.

In order to interface the sequencer with my analog synth gear I used to following circuits:

 

 

My residency at STEIM has provided me with access to a wonderful source for my next piece: the city of Amsterdam. Over the past 3 weeks, I have collected over 20 hours of field-recordings from different locations in the city. These recordings have been edited and categorized, and my pre-compositional work has begun. A combination of recording equipment was necessary in order to successfully capture sources within the urban environment. When discretion / stealth was necessary, I used my Sound Devices 702 with a worn pair of DPA 4052 miniature omnidirectional microphones. When discretion was not necessary, I instead utilised a Sennheiser MKH30/60 M&S pair within a Rycote windshield: in contrast to the DPA mics, these microphones are highly directional (if somewhat conspicuous!). All recordings were made at 96khz / 24-bit.

 

The Fall, by Camus, was my inspiration for writing a piece using the sounds of Amsterdam. However, my work is not intended to follow the narrative or structure of The Fall. Instead, the text has helped me to develop a number of ideas concerning specific images and sonic vocabulary. For example, Jean-Baptiste describes Amsterdammers as:

 

“…funeral swans drifting throughout the whole country, around the seas, along the canals. Their heads in their copper-coloured clouds, they dream; they ride in circles; they pray, sleep-walking in the fog’s gilded incense; they have ceased to be here.”

 

This passage led me to focus upon collecting the sounds of bicycles (admittedly, not a difficult task in Amsterdam!).

 

As well as capturing incidental street activity, I focused my attention upon a few specific locations, for example, the beach / disused land to the West of Centraal Station, Vondelpark on a Sunday morning, St. Nicolaaskerk on Christmas Eve, Museumplein on New Year’s Eve etc. I have begun to compose a number of studies that each explore specific musical vocabulary (impacts, rhythms, tonality, acceleration / deceleration etc), specific locations (St. Nicolasskerk, Vondelpark) or specific materials (bells, bikes, birds, boats, crowds, laughter, rain etc). From these studies I will eventually extrapolate my final piece.

 

Thanks to all at STEIM and Happy New Year!

 

New Year in Amsterdam by Sam Salem

 

I came to Steim wanting to work on the performance moment of MoEFE (Moment of extreme force exertion). Once at Steim the presentations and lectures that I had at Steim pushed my work a great deal and I now feel that there is many more interesting directions. One of the most interesting parts for me is how you instrument effects the composition and thus the music that it produces. I hope to do many more experiments on this and to take instrument building further than just the MoEFE gesture.

I firstly learning about the history of Steim which fascinated me and I am in awe of work they have done. Seeing what was possible opened up my ideas of what I wanted to do in a live performance context. From this I started to work on different ways of working with live sampling in MaxMSP.

Wjh~

I have always felt that during an improvisation there would be a great moment or sound and I would have missed it or I want to use it again. So I wanted be able to go back and play with that sound that just happened. This lead me to develop a constantly recoding buffer that I could record off backwards from the moment I press a button so that I would never miss what just happened. This is when I worked on wjh~ a MaxMSP object which does this.

We also Learnt about JunXion the software developed by Steim that can help to get the control Data from Human interface devices on to the computer so that it can by used as an instrument. Learning about this helped me to order ways of controlling human interface data on MaxMSP. JunXion uses states of patches for each input to control a desired output. I used a similar method of states that I could change between in max.

From many of the conversation and workshop made me aware of the importance of how you map your controls to your sounds. This is because this mapping is what gives the instrument its feel and can dictate what kind of sequences are possible and thus the compositional possibilities of an instrument. As a composer this excites me as instrument can give new and possibly interesting limitation to music and composition and something that I hope to look at in the future.

The Rattle Hammer and MoEFE

This was made first made in response to the workshop with Kristina Anderson in which we were given a lot of materials to make a instrument that would make a sound we had drawn. The Rattle Hammer worked well and I felt summed up my intentions in the MoEFE project.

I developed the rattle hammer further by putting two contact Mics on the outside of the box. I then filled the box with different object to change the sounds that the rattle produced. Keys in the box I felt worked well.

During my time at Steim I worked on MoEFE’s with the first step to get the computer to understand when energy was about to be exerted and when it had been. This I work on by using a wireless game controller that used accelerometers, and mapping the movements of this controller.

Using this gesture mapping, the buttons on the wireless game controller in conjunction with the Rattle Hammer I created a method of sampling the rattle sound and distorting the rattle sound. I also used these sampled sounds to create what I call “sound piles” which is actually just granular synthesis with large chunks instead of grains. I then used the tilt sensors to be able to control the volume, pitch of the sound piles.

Once I had the basic of the instrument functioning I wanted to make the controls more malleable so I could change what I was controlling. This was hard as I only had 6 buttons, I however took an idea from beat ‘em’ up games and create combinations of buttons to change what the controls would be doing. For instance I wanted to choose what I was sampling out of four different options so I used different combinations to be able chose between them.

I had lots of fun making and coding the instrument but I did not have very long to develop it as I had agreed to perform with it on the Tuesday after the course. This meant that I had to quickly learn the instrument and all the combinations I had written. This was fine but I didn’t get to the point where I couldn’t use the on screen info to tell me where I was in the controls.

I had developed a short performance that showed what I could do with the instrument. However before the show the patch started to break and became problematic. I later found out this was because of a third party external for MaxMSP but it meant that I could not perform. Working towardsthis performance had meant that I had created a lot in a short amount of time.

I feel that I have made a good start on the MoEFE instrument and I like how it sounds and playing with it is fun. I feel however it is still very basic and I am a beginner at playing so it does not run smoothly. I am going to work on practising and developing it further.

There is also an element that I did not get to explore because of the short time period. It was to use the MoEFE instrument to hit and make sound with other object. I would like to experiment with using a hammer with the similar gestural controls that can hit object that make interesting sounds. I would like to experiment with this being a destructive act as I am interesting in the satisfaction of a destructive gesture and the ideas of Auto-destruction and Auto-creation as ways of creating art.

The Strophonion is an electronic instrument which was developed and built by STEIM from 2010 until 2011. It belongs to the instrument group, that is usually subsumed under the term live-electronics using gestural controllers. The following blog gives an insight into the entire process of developing and building the Strophonion from the beginning.

The Strophonion (left and right hand controller), 2011
© Frank Baldé

Since fall 2007 I was invited by STEIM on a regular basis in order to develop my first electronic instrument, mainly with Daniel Schorno, a setup which is controlled by two Wii-remotes and which I call Stimmflieger. (The literate translation would be voice kite). During the second half of 2009 the staff at STEIM and I were discussing various approaches towards building a new instrument. At the end of 2009 Dick Rijken, director of STEIM, and Frank Baldé, head of the software department, officially invited me to focus on doing so with full financial and tech support by STEIM. I don’t want to miss saying how happy, enthusiastic and thankful I was and still am about this extraordinary offer and opportunity. In fall 2011 the Strophonion was finished and premiered on November 5, 2011 during the Sound Triangle festival at the LIG Art Hall in Seoul/Korea.

Nowitz with Strophonion, 2011
© STEIM

A) Initial and conceptual thoughts
At first, I was collecting all kinds of ideas for developing, designing and creating an electronic instrument. Here are some keywords which shall outline the most important categories:

1) The instrument should be gestural and expressive. Movements of arms and hands should have a considerable impact on the actual way of playing the instrument as well as the overall appearance of musician and instrument during a performance.

2) Other achievements should be: virtuosity in playing the instrument, using the musician’s fine-motoric, tactile and sensual skills, involving all five fingers to control and play the instrument.

3) On top of this, the concept of playing the instrument in a conventional way, playing accurate pitches from a keypad (of any sort) on a chromatic and/or quarter-tone basis, should be an integral part of the instrument as well.

4) Last but not least, the instrument should be wireless. In other words, no wires  should be applied to connect the controllers to the computer.

B) Experimenting, learning, exploring
Frank Baldé provided newly created software configurations (junXion, LiSa) for me. Experimenting with those I experienced various new ways of processing the voice via LiSa. On the hardware level I explored different continuous controller components, such as bending sensors, pressure sensors, joy-sticks, 3-axis accelerometers, different switches and buttons. Byungjun Kwon provided all these and he built a glove which was a great experience to play with.

Glove by Byungjun Kwon, 2010
© Byungjun Kwon

Another important instrument which I could experiment with was the MIDI Conductor which was built some years ago at STEIM, designed by Michel Waisvisz, and which uses ultrasound to measure distance. This specific way of controlling continuous data seemed to be very precise, accurate and easy to define, which is important to get the best possible control of musical parameters such as volume or pitch bending. The most important aspect to me, though, was the fact that the ultrasound measurement method works in a straight line as opposed to the 3-axis accelerometer whose characteristic is rotation around each axis. Eventually it turned out that both combined and each for one hand, the ultrasound for the left and the 3-axis accelerometer for the right hand, should be the two main components regarding the integration of continuous controllers. At some later point, Byungjun suggested to also install a little joy-stick for the left hand. In addition, a pressure sensor was also installed as being the fifth continuous controller built into the instrument. (The 3-axis accelerometer counts as two, since, at the time of writing this blog, I’m using the x- and y-axis of the 3-axis accelerometer, but not the z-axis.)

Backside of the right hand controller of the Strophonion, 2011
© Alex Nowitz

Backside of the left hand controller of the Strophonion, 2011
© Alex Nowitz

C) Developing the ideas
A main issue during the very early stage of development was: how do I get across my ideas, how should the instrument look like and, more important, how should it be played. For this reasons I made sketches and even moulded some mock-ups out of clay:

Nowitz’ “Hand in the spoon” sketch, 2010
© Alex Nowitz

 

Nowitz’ “Shell” sketch (1), 2010
© Alex Nowitz

Nowitz’ “Shell” sketch (2), 2010
© Alex Nowitz



Nowitz’ “Shell” sketch (3), 2010
© Alex Nowitz

Nowitz’ “Skull Shell” sketch, 2010
© Alex Nowitz

Nowitz’ sketch and mockups of the Shells made out of clay, 2010
© Alex Nowitz

D) Creating and shaping the prototype: the Shells
Florian Goettke, visual artist, used to be a professional violin maker. He shaped the final version as well as the prototype, constantly adjusting and improving it. His work began by creating mock-ups for me to experiment with.

Florian Goettke at his workshop creating the first mock-ups, 2010
© Alex Nowitz

Florian Goettke’s 1st mockup (side perspective), 2010
© Florian Goettke

Florian Goettke’s 1st mockup (the keypad), 2010
© Florian Goettke

During this period of trying out different mockups created by Florian, it gradually became clear to me how we should approach the shape of the instrument and its parts. The controller devices for the hands, at least the one for the right hand, should look like a shell. That’s also about the time when the prototype received a name: the Shells.

The Shells – Prototype development of right hand controller (1-6)
© Alex Nowitz

While Florian worked on the wooden shape of the Shells Byungjun ordered the electronic parts and did a lot of soldering and firmware programming. Once Byungjun and/or Florian attached the electronic parts onto the wooden shape, Frank started testing the devices. If the result was as expected he started to define the data coming into junXion and prepared these so that I was able to play-test the Shells from an artistic and musical standpoint. A lot of adjustments needed to be made all along the way of developing and building the instrument. Therefore, the Shells became a typical example for a work-in-progress that was handed back and forth between Frank, Byungjun, Florian and me. It goes without saying that all of us, working in completely different fields, had to collaborate very closely.

Shells (front/on top), 2010,
© Alex Nowitz

At some point during this procedure, we seemed to have reached an impasse. Every time Byungjun or Frank were testing the prototype in their offices it seemed to work just great; every time I was testing it I got unintentional responses from the instrument until the three of us met in my rehearsal space where we detected interferences between the XBee based wireless data network being used in the Shells and the wireless microphone system from Shure which I was using to amplify and live-record my voice. After we found the issue, Byungjun increased the power for the XBee network and the problem was solved. I’m mentioning this specific issue just to give one little, but crucial example out of many others that needed to be solved along the way. And it demonstrates perfectly how closely the four of us had to collaborate during the entire development process in order to solve problems and to take it a step forward.

XBee Pro on XBee board (XBee Explorer USB), 2010
© Alex Nowitz

Ultrasound Module (built into the left hand controller), 2010
© Alex Nowitz

Shells (right hand controller) at an early stage, Ultrasound (transmitter and receiver) and XBee Pro, MIDI Conductor (in the back of the picture), 2010
© Alex Nowitz

In fact, we were constantly re-adjusting and enhancing the prototype on all levels – ergonomics, shape, hardware and software – and, at the same time, learning to play the instrument. Finally, on April 12, 2011 I premiered the prototype during a solo concert at the Radialsystem in Berlin hosted by Gerhardt Müller-Goldboom who is the director of the so-called ensemble ‘work-in-progress’. Incidentally, Frank came to Berlin, too, in order to make sure that the instrument was working the way as supposed to. In fact – it happened to work out great! Various other public presentations, mainly as being part of my solo show Homo Ludens followed: Bratislava (multiplace festival), Rotterdam (Hocus Pocus commissioned by dePlayer/Operadagen Rotterdam), NIME in Oslo, Nyksund, Trondheim and Kristiansand (all Norway), Lisbon (Music Viva), Amsterdam (Steim’s Pattern and Pleasure). During this period of extensive practice and showings I developed a good sense for playing the instrument so that I could tell what details need to be changed in order to improve the playability and to gain accurate, precise musical control. Due to Frank’s experiences in this entire field of instrument development, he always made great suggestions for improvements as Florian did so, too. In other words, we continued re-programming and re-shaping the instrument.

Shells (alongside/underneath, final stage), 2011
© Alex Nowitz

Shells (front/on top, final stage), 2011
© Alex Nowitz

Shells (right hand controller, final stage), 2011
© Alex Nowitz

E) The final version: the Strophonion
After Byungjun has left Amsterdam during summer 2011 to get settled back home in Seoul, STEIM hired Mr. Stock to make an exact copy of the prototype. Once he had finished the electronic parts, Florian took them and built them into the final shape which was also based on the prototype. Florian’s final work did bring out a fantastic instrument with a great look and ‘handy’ shapes.

Nowitz’ Strophonion (complete) on a stand, 2011
© Alex Nowitz

Admittedly, the initial idea was to emulate the shape of a shell. And indeed, one may recall a shell looking at the prototype. But when the final version of the instrument was finished in fall 2011, I felt I must give it another name, since neither the right hand nor the left hand controller makes you think of a shell anymore. Therefore I took the chance to rename the instrument emphasizing the way it’s being played, namely with two hands in combination with the voice. There are three syllables which, put together, give the instrument its name: the Strophonion.
1.) strophé (Greek), which means rotating, turning, spinning or twisting, is the beginning of the term. Musical parameters, such as pitch, volume, frequency filtering, sample lengths and sample position and many others, are controlled by the rotation of the right hand (using the 3-axis accelerometer).
2.) phon (Greek) means voice and/or sound. This syllable forms the middle part.
3.) The ending of the term, ion (Greek), is an atom or molecule, that gives electrical charge, and means: ‘going’. But, as being part of the neologism Strophonion, it shall also allude to the way of playing the left hand device (distance measurement via ultrasound), which may recall the way of playing an accord-ion.

List of all components of the Strophonion:

Right hand controller device:
- 12 buttons (3 rows, 4 buttons each)
- modifier switch
- pressure sensor
- 3-axis accelerometer

Left hand controller device:
- 6 buttons
- modifier switch
- joy-stick
- ultrasound (receiver)

Waistbelt:
- ultrasound (transmitter)

Software components:
- JunXion v4.6 (2011)
- LiSa XC(ore) v1.37 (2011)

Computer components:
- Mac Mini (2,26 GHz Intel Core 2 Duo)
- Mac OS X v10.6.2

Patterns+Pleasure Festival: Alex Nowitz from STEIM Amsterdam on Vimeo.

Voice and Strophonion by Alex Nowitz from Netsildna Kool on Vimeo.

 

Acknowledgements:

I would like to thank all of those who were responsible for developing and building the instrument:
Frank Baldé – software, programming
Florian Goettke – ergonomics, shape, design
Byungjun Kwon – electronics (prototype development: Shells)
Mr. Stock – electronics (final instrument: Strophonion)
Heather MacCrimmon – waistbelt

Also, many thanks to all the people who were and are involved in other ways:
Dick Rijken – director
Takuro Mizuta Lippit – artistic director
Wouter Overgauuw – financial director
Jonathan Reus – project manager (Strophonion)
Robert van Heumen – project manager (Shells)
Joel Ryan – artistic advisor
Daniel Schorno – artistic advisor
Marije Baalman – maintenance
Nico Bes – bestman, troubleshooter of all kinds
Esther Roschar – bestwoman, travel manager
Vivian Wenli Lin – video documentation

December 23, 2011
Alex Nowitz
www.nowitz.de

What a great week. I brought back such great teaching ideas for my students in Korea. I only wish I had more time but I had to return to Korea early to finish final critiques before the end of the year. I quite enjoyed the discussions regarding the theater of musical performance but my favorite part would have to be visiting the Waag FabLab as I am trying to setup something similar in Seoul.