pieter coussement


LightSwitch 2009

Hardware Sequencer with large affordance
In combining everyday lightswitches into a hardware sequencer, I create a very low-tech and minimal version of a step sequencer.
LED-strips in between the switches provide extra visual feedback
Conceptually the object addresses the iconographic aspects of a lightswitch, as a binary on/off state.


Lament 2009

Inspired by another work of mine, music centre ‘De Bijloke’ commissioned an installation to accompany the musical program around the Lamentation week they organized.
The installation is based upon the concept of Lamentation and how different people in different cultures cope with grieve and loss through music.
The microphones that are part of the megaphones listen to what goes on in the room, and transfer this information to a computer. The computer distinguishes between two amplitude ranges, on the one hand there are the subtle differences in surrounding sounds, which will influence the amplitude of a sound-bed, put out through the speakers of the megaphones.
When someone speaks directly into the megaphone, on the other hand, the second amplitude range is accessed and a second voice will be heard.
The five atmospheric layers, together forming a musical backdrop, and a possible maximum of five voices combine to a room-filling ever, changing sound installation.
Conceptually the object addresses the iconographic aspects of a lightswitch, as a binary on/off state.


The Heart as an Ocean 2009

‘The Heart as an Ocean’ is a new-media piece that is based on the artistic use of the participant’s auditory senses and biometric feedback. The installation has been exhibited at Gallery Jan Colle in Ghent, Belgium (2007), at the Audio Mostly conference in Piteå (2008), the Bijlokefestival, Ghent (2008), and at the Electrified Summercamp in Ghent (2009). In a broader context, ‘The Heart as an Ocean’ also functions as an experimental setting in which new forms of interactivity are explored, more particularly in the context of media installations and new sensor technologies. The media piece explores the fundamentals of meaningful interaction by examining to what extend the physiology of the human body can be both sensor and actuator in an art context.


Ohm v.1 2006

Interactive installation based on digital faults in lowtech circuitry.
There are three compositions made for this version each addressing a different user experience.
The public has means to interact with the installation by using the functionality of the megaphone.
Conceptually the installation addresses the iconographic aspects of a megaphone, associated with rebelion, and propaganda. By only using the very subtle crackle comming from a fault on the low-tech circuit this installation becomes a silent shout. The interaction of the public quickly becomes silenced or lenghtened by the installation playing composed sequences.