new projects



violin-playing-body is a new research project about the connection between the movements of the player and the music itself. what happens with the music, if the performer moves with the music or in contradiction to are the body and the movements of the performer connected to the music? Is the movement itself/alone music as well? What happens to the music if we minimize or maximize the movements while playing?
violin-playing-body will go on a journey and search for answers. This journey will become a music piece with visual influences. First step we take is to compose a piece for violin and Kinect Sensor, a sensor developed to control videogames only by body movements. If this works out, we will add the use of the so called "body projection mapping" , to expand the visual aspect.
by Susanne Zapf

This work is a collaboration with violinist Susanne Zapf (Sonar Quartet) and Composer Tatsuru Arai,as part of Project „Violin-Playing-Body“,that try to research and find a new perspective  in the classical Instrument.The Music is composed by Tatsuru Arai as Trans Ages Music,that will be Various styles(renaissance, Barock, classical, Romantic, Modern,Contemporary,electronics),it can cause a variety of movement of Violinist,and will be visualized from movement of body of violinist and itself Sound on the real time.​

photo: Tatsuru Arai

The Art of violin playing

a NeitherNor production

At his most skilled, a violinist’s technique is invisible. He becomes his instrument. The freedom experienced by a virtuoso when in complete command of his technique, also renders invisible the innate demands imposed upon him. His presence on stage is as a violinist above all else. His body is subsumed by this definition. The relationship between distinct instrumental techniques, musical notation in its many manifestations, established practices of interpretation and interaction, and personal taste or preference is a complex one, but nonetheless exists within a frame in which the violinist’s physical actions are highly refined, controlled and contained. What music might emerge, then, if this relationship between body and instrument was called into question? If the difference between a violinist and his technique became more visible, expansive, volatile and expressive? What happens when music emerges not as the controlled end to which all movements aspire but as a repercussion of self-contained physical experiences and interactions? And who does the virtuoso become when, in his quixotic aspiration for artistic expression, he must take for his bow wood from the trees?
“Finally they passed the night among some trees, from one of which Don Quixote plucked a dry branch to serve him after a fashion as a lance…”
– Miguel de Cervantes, Don Quijote de la Mancha

Commissioned by Susanne Zapf with funds from the Norsk komponistforening, with additional support from Bergen kommune, Fond for utøvende kunstnere, Music Norway, the Harry and Alice Eiler Foundation, BEK (Bergen Centre for Electronic Arts), Bergen Dansesenter and o espaço do tempo.

Yaniv Cohen (movement/performer/filming)
Alec Hall (violin/performer)
Guido Henneboehl (electronics)
Alwynne Pritchard (performer, concept, direction, choreography, video editing and sound)
Aline Sánchez (movement/performer)
Lisa Simpson (costumes)
Thorolf Thuestad (electronics, kinetics, sound and computing)
Susanne Zapf (violin/performer)

The Trouble With Windmills 
A Neither Nor production

Susanne Zapf, violin; 

Alwynne Pritchard, performance; 
Thorolf Thuestad, electronics/robotics;
Aistė Žumbakytė, design/production assistant