making music

A couple different ideas/experiments I’m interested doing this term:
- Instrument easy transformable. At night my wall is covered in shadows from trees etc. To pick a shape out of there before sleep, make it the next day, see how the shape influences the music. It could be interesting to see what forms stand out just before entering the unconsciousness and how that will further effect the sound. Will there be a connection heard between the feelings before sleep and the sounds of the next day. A transformative instrument means that (everyday) there is a difference how you hold it, how loud etc. -> create an album recorded over a certain period, the titles would be the original visual shape.

I made the instrument with lose beads of a broken necklace of mine and a walnut. Its meant to be tied around the body and resonate with it. I drilled holes in the metal to make room for more things to hang on and more sound to be created.
I like it being connected to the body, it can follow the rhythm of a dance or vocalise everyday actives. So the movement part would actually be the main role and music a by-product.

- Further develop the body instrument. Similar instruments are prominent in Kurdish and Persian culture, develop how MINE instrument will manifest.
->Then tie it around myself and record the sound for (a large portion) of a certain amount of days. Reflect how the instrument interprets my day and the difference how I did it. This could be harmonious but also super contrasting. A moment where I could feel anxious could sound like a cute jingle from the instrument. Kind of making fun of the seriousness and detaches me from the delusions/self-deception/exaggerating/reality-bending structure of the ego.
Would be nice to use those sounds as a base for further audio development in the studio.
Magnify the instruments exposition with other sounds. ((implement pop culture research in this context in the form of mix taping?))
I would still in a way impose my own prejudiced ideas when reflecting on the instrument. Since I also created the instrument, which is in a way the language the material speaks, it’s inherent that I also can hear the different nuances in sound it can make?
((Possibly juxtapose the final recordings and my diary entries.?))

I will continue with the body instrument(s), use the first one to test things out and see if it will get me new insights.

collecting my date seeds. glass cube holding the seeds and beads with the walnut hanging next. the layout of the bodyinstrument could be like a drumset, with seperated areas instead of the traditional body instrument that focuses on one particuler material/sound. the glass, not practical but is something i cherish. The approach out of this could be to create sounds that suit the objects instead of searching for objects to create the fitting sound.?

the body instrument is based off on a moving body. what if i can make the instrument work on a still body? Not relying on wind etc but somehow create sound with just the breathing body.

again the instrument and the body/mind being in contradicting states

I wanted to see what was written about kurdish and persian bodyinstruments, but can hardly find any information. --> focus on the materials and surrounding culture of instruments in this area.
a lot of academic sources about historical west-asian instruments are outdated and colonial coded.

clay + bioplastics + seeds and nuts

i like walking with my mother because she walks fast but is also super aware of her surroundings. every tree has a name, has a seed, used for this and that. Why spend so much time scrolling through sites looking for knowledge when there is so much to learn from her?

dumped some of the photos here. I think a different medium is needed to document the further development of these pictures, the form/clay experimentation etc etc. Also want to include all of my mothers references of the trees,plants etc. a weekly booklet? a weekly installation?

dode vlinder of plastic?

not completely related to body horror as a genry in film but it made me think about this work from YERBOSSYN MELDIBEKOV (Patan I, 2001) I saw.

“The term ‘biological horror,’” David Cronenberg once said, “really refers to the fact that my films are very body-conscious. They’re very conscious of physical existence as a living organism, rather than other horror films or science-fiction films which are very technologically oriented, or concerned with the supernatural, and in that sense are very disembodied.”

As the Canadian maestro returns to the big screen with Crimes of the Future (2022), a film pitched in the press – if not by its director, who has long shied away from applying the term to his own work – as a return to the realms of ‘body’ or ‘biological’ horror, we’re taking a look back at some great films that deal in the treacheries of the flesh.
Referring to a distinct subgenre in horror cinema that variously trades in aberration, mutation, transformation and a loss of conscious control over the human body – often accompanied by generous volumes of squicky corporeal trauma – body horror usually requires a certain level of tolerance for on-screen yucks.

The genesis of the term itself can be traced back to a 1983 essay by the Australian academic Philip Brophy – who would go on to practise what he preached by directing the 1993 feature Body Melt – but its conceptual tropes stretch all the way back into the realms of gothic literature.

While biological horror movies offer boundless opportunities for the greatest FX artists in the business to let their imaginations run wild, the subgenre has long proved fertile ground for its political potential, where questions of bodily integrity and autonomy are inherently foregrounded.
-bfi

i didn't think about the different states of the body even if theyre all still. this could be a way to connect the sleeping/almost unconscious

output hole should be as big as the inward (mouth) hole. lower hor. cut should be 45 deg. angle.

making a base to document the process of researching natural elements (both their core values and manipulating their form) into instruments that all relate back to
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doing some drillingz for the instrument

some opened up while drilling. revealing the oddly moist pit inside the dried out chestnut

multi layered instrument. water inside?

feedback moment:
(the progression of the stories, from daughter to mother, brother to brother to father to daughter,)could be the instrument itself in the form of voice recordings. -> while i do like exploring these different instruments for now, its a good reminder that I don't have to stick to this defefintion of an instrument and let it be more conceptual when it would require.

idea was to make an extension of the bangle jewel i have hanging from my bag. The two whirls of stackes seeds and nuts in combination witht the metal bracelet produce a wider variety of sound that the metal drumset plate.
->completely metal-fy the bracelet besides the claying.
then it goes back to bodyjewelry.

---> expressed in tangible projects:
-clay/metal/plant body instruments
-family tree and collecting of their personal met mama
-visuals that show the kurds infiltrating the televisions/dominant narratives in (film) culture/ advertising. sometimes the infiltration is succesful, othertimes theyre just wacky and idiotic.

untitled pages to give myself some sort of outline of what i've been doing

kleine stukjes klaar voor solderen.
de 'n' en 'H' vormen met verschillende variaties daarop.
Hiermee kan ik het verbinden met de 'familieroute' als symbool; doorgeven en circuleren van DNA(lichamelijk en geestelijk) die bij elke overhandiging een beetje veranderen.
botsende deeltjes. botsende moleculen. botsende metaal. botsende pitjes. botsende mensen.