Part of the work of Tintin Patrone and Tim Huys deals with the development of musical instruments, researching the relationship between musician and instrument, even as questioning music rituals and conventions by self-experimentation or in a framework designed for audience participation. During this month-long residency, they try to advance their former electronic-analogous approaches of their work through experiments with current digital technology, whereby the analogue and the digital complement each other only on a point-by-point basis.
Rather it is a matter of transposing their previous approach to a new, easily accessible technical level. Comprehensibility, transparency and accessibility are key features of this project. Contrary to the promise of new digital music production technologies to eliminate physical barriers, the stay with Q-O2 should resemble a return of the seemingly blockade-free touch screen to the haptic playing of instruments. “Touchscreen Extendings” or “Tangible Controllers/Widgets” are nearby keywords. However, here too the perpetual guiding principle applies: One needs boundaries to be able to develop imagination. Their instrument design approach consists of a performative and a generative aspect. The performative serves the audience for concentration and general understanding – one is grateful when a music performance also has a visual component and reveals cause-effect correlations. In addition, synchronization between different players can be achieved. The generative aspect, however, is the most important prerequisite for physical instrumentation and structure generation, whether for pieces, interactive installations or improvisation. The two basic pillars of their work, intuition and reflection, contribute equally to the creative act. Examining a certain imbalance can, however, lead to unexpected results, especially in the realm of musicality and sound.