In her artistic work she is interested in the realtime components of the work, in that nothing is precomposed as such, but rather the (mostly, but not exclusively) sonic output depends on realtime interactions, be it of the performer, or of the audience. She is a contributor to “The SuperCollider Book” (MIT Press, coming up in 2011). She has performed and exhibited work across Europe (STEIM, WORM (NL), EXIT festival (F), Club Transmediale (D)) and beyond (Electrofringe (AU)) and collaborated with, among others, Alberto de Campo, Hannes Hölzl, Chris Salter, Michael Schumacher, Attakkalari Dance Company and Workspace Unlimited.
Her research goes into the use of wireless networks for live performance (such as dance and music), and installations. Between 20 she was a post-doctoral researcher in Computation Arts at Concordia University in Montreal. on Wave Field Synthesis and electro-acoustic music in 2007 at the Electronic Studio of the Technical University of Berlin. In 2001/2002 she followed the Sonology Course at the Royal Conservatory in The Hague. Marije Baalman studied Applied Physics at the Technical University in Delft and graduated in February 2002 on the topic of Perceptual Acoustics. Level: Introductory/Intermediate (some knowledge of sound synthesis and Participants should bring some controllers that to use during the workshop.
#Supercollider ipad how to#
In this seminar we will explore the basics of how to access various interfaces from SuperCollider, strategies to explore the semantics of the interfaces that we use and the data that they generate, and methods of mapping these to control sonic processes. To turn these interfaces into musical instruments there are various steps to guide the design of a playable instrument. MIDI keyboards, slider boxes, joysticks, gamepads, are ubiquitous interfaces right now to the computers that surround us.
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