Miniature, modular instruments designed to affix to virtually any structure thereby allow the composer musical control of anything from a battery of specially designed instruments to structural surfaces within pre-existing architectural space.
With an emphasis on simplicity, each of these mechanisms’ design usually consists of only one electromechanical actuator (a rotary motor, or linear solenoid) which responds to varying degrees of supply voltage remotely regulated by a microcontroller. This single-actuator design philosophy demands that all mechanical movement within the instrument be subordinated on the physical capabilities of the lone motor or solenoid employed and, while this may sound like a limitation, such use of mechanical design (as opposed to more ‘intelligent’ electronic design) manifests a reliability, mechanical consistency and modularity that would otherwise not be possible.
Each device can be fitted with a variety of harnesses for mounting and is connected to the brain (box containing the PIC microcontroller and DC power supply) via a single run of cable. Thus, the microcontroller administers the appropriate voltage to hit, shake, scrape, bow, spin, whip, or pluck sound from any sonorous object with the exact precision one would expect from digital control.
Installations and Performances in New York City (Harvestworks, Chelsea Art Museum, Gigantic Art Space, Eyebeam Gallery, Angel Orensanz Foundation, P.S.1 Clocktower Gallery, and The Frying Pan), and worldwide at 2004 NIME conference in Hamamatsu, Japan, 2004; iMAL festival in Brussels, Belgium; 2004 Audio Arts Festival in Krakow, Poland; When The Time Traveller Kills His Grandmother (a survey of current sound art curated by Fritz Welch) 2005 London, England.