Projects SI 28/Writing Machine Ensemble

Projects SI 28/Writing Machine Ensemble

Description

Explorations in Potential Musicality

With the Writing Machine Ensemble, rythm and repetition are experienced in a radically new form. Explorations in Potential Musicality is a musical journey through the sonic qualities of printers—with a strong emphasis on improvisation, yet promising dramatic intensity.

Writing Machine Ensemble

The Writing Machine Ensemble, co-founded by it's current members, is an international group of experimental musicians from around the XPUB Studio. Independent and idealistic, they focus on blending the role of 'instrument' and 'musician' in an assemblage of artistic creation, striving to find the essential musical quality in tools of writing. Since its debut in September 2025, the ensemble has performed once on WORM Radio, for the 5th edition of XPUB's Special Issue Radio show, where the group's unique live scoring method was born.

Members

Emanuele Arrigoni, Daan Princen, Robin de Haan,Thijs van Loenhout, Monica Olympia, Erika Model, N.E.C. (Dottie) Parson, Taxan X.Y. Plotter

All parts of a typewriter

Medium/Media

Performance (not naming the printers as medium is part of the concept)

(or, if possible, change formatting to that of a concert announcement, so no mention of medium)

Keywords: Technical Assemblage, Live Scoring, Scores, Notation, Sound, Performance, Writing Machines, tools shape practice practice shape tool

Input > Output

INPUT: Finger movements that originate symbols and letters onto electronic devices.

OUTPUT[S]: the same input text BUT on long continuous sheets of paper, thanks to the use of ink that is both being sprayed onto the paper thanks to the marvellous technical engineering of a head that moves horizontally, and imprinted, thanks to the mechanical movements of engraved metal rods hitting the paper. > The result is print. This action of printing produces noise. > Together, noises and symbols on paper, leads people to wander into stuff called semiotics, thoughts and imagination through the use of interpretation.

INTRO

The Writing Machines Ensemble was born during the Special Issue 28 by a common interest between the members on working onto sound by going beyond the writing aspect of language. The focus on sound it has been put not on how words are spoken but on how text is printed. During one of Steve's first lessons we felt an attraction to the audible qualities of a typewriter. During prototyping classes we were exposed to the DOT Matrix (Dottie) babblebash and the attraction started to feel stronger, so we saw an opportunity to widen our scope. This was even further enhanced when Thijs and Manetta filled the room with vintage penplotters.

We started to gather inspirational content to have a better view on existing materials to better orient our direction. The first key example was the orchestral composition The Typewriter (1953) by Leroy Anderson in which the sonic qualities of a typewriter, like the hammering of the keys and the bell that indicates the end of the line, takes the focus. This orchestral composition was written and notated in a standard way for an orchestral ensemble. The player of the typewriter is rhythmically hammering the buttons, pressing a bell and sliding the platen back to the left of the page.

Other references were the Electronicos Fantasticos, Open Reel and Scratch Orchestra, they experiment with the sonic qualities of tools and electronics originally made not to produce sound as a key aspect. They also do it by bending circuits and creating new sorts of sound devices.

XPUB alumni Rosa Schuurmans and Riviera Taylor became also a major inspiration for our project. At HfG Karlsruhe they did an experimental performance with amplifying parts of printers. They programmed parts of printers to adjust the sounds and the rhythm of their printing.

All combined these sources sketched a beautiful outline to what we wanted our project and performance to be like.

Cognitive Assemblage

While discussing our concept, we came to an understanding that we were dealing with the cognitive assemblage concept by Katherine Hayles. The trial and error while trying out rhythms on the typewriters, and getting the Dot Matrix to work, gave us the insight that we’re working with more cognitive agents other than ourselves. They needed special use and care. Only working with us if handled in it’s right form. They’re delicate machines. It was clear that we couldn’t just exploit their talents. Using the media in a different way than it was intended, to manifest a role that it wasn't programmed to do before.

On Score notation

When speaking about music and performing it, a major topic that comes up it's the notation of it. Since in the SI28 we faced questions regarding language and protocols, we developed our own protocol for music & used language that goes against the standard ways of notation.

In our research we came across a lot of different examples of non-classical ways of notation. Key examples are Anthony Braxton’s Synaesthetic Ideal and Notations for Improvisers, John Coltrane Coltrane Changes - Circle of Fifths and Giant Steps | Visualized on a Mathematical Space, Daphne Oram Oramics and Jani Christou. During a trip to the Antwerp Art Books Fair 2025, Ema randomly came across MELODY III BOOK II by Jon Gibson (1976) in which FILL HERE WITH THE TEXT FROM THE BOOK -

<IMAGE OF JON GIBSON BOOK>

Jon Gibson outcome is printed on a continuous sheet of paper, just like the pin-feed paper used for DOT Matrix printers. Thanks to that aspect we then started to read and interpret the scoring of Gibson in new ways. Our output printed on paper falls in between musical notation written before playing the music and the musical notation produced after having recorded music. We have used a continuous feed paper to really expose the material aspect of producing the score live, since it better represent the constant flow of music. As we're making the piece of music, the printed output represents both the documentation of it but it also can become a new musical piece or at least an interpretation. Our notation is always open to all different kinds of interpretations.

The agency in creating the scoring is shifted from a purely human process, to a collaborative one between the printers and human players. From the viewpoint of established music, the notation is part of creating a musical piece, and fixing it on paper before being played. The instrument usually is the tool through which the sound is produced, but in the Writing Machines Ensemble there is the duality of creating the live score of the sound that is heard and the sound played. Furthermore the contemporaneity of it; the sound from the machines is the actual sound that is produced to print.

The notation being the formal documentation process that encodes sound into a system we have learned to understand as music.

In our case, we had to work together with the machines in order to understand how every particular machine creates sound and by which parameters they work. If we want to use a machine that is intended for producing text as a tool to make sound, we follow their restrictions as the starting point. Text output has become a documentation of the printers sound production that does not follow the formal system of music, but we still read as having a 'musical' quality. And it is up to the human players to work with each printer's restrictions to learn how to collaborate with them. Then, we made protocols among us so we could have a way to improvise between human and machine play in a live performance, rather than relying on an established, universal language of music.

DOTTIE

Offers a wide range of sound possibilities that vary depending on the printed character. During our experimentations we tested all of the different sounds they can produce. We mainly used ! # % . a characters.

<IMAGES OF DOTTIE'S OUTPUTS>

TYPEWRITERS=

Repeat a sentence or a word over and over in order for the player to delve into the rythmic aspect and variations. Reference to The Shining (1980): All work and no play makes Jack a dull boy. Ema came up with ‘Everything is noise. You interpret.’ as an open critique onto how music also commonly falls into highly standardizations and on how humans are always drawn to categorazation and how it’s impossible to run away from it.

<IMAGE OF TYPEWRITER OUTPUT>

The Ensemble

First of, the working title for the project was Typewriter Orchestra. This was rapidly Changed into Writing Machine Ensemble when Dottie (NEC Dot Matrix printer) joined the room. The word orchestra describes a group of instrumentalists, especially one combining string, woodwind, brass, and percussion sections and playing classical music. We ran with ensemble which refers to a group of musicians, actors, or dancers who perform together. The word lends itself for a more open and general collection of objects and players. Ensemble comes from the Middle French word ensemblée, which means "together, at the same time." Groups of people who perform at the same time are ensembles, so objects that are collected in a group. This tightly connects to the French word Assemblage, meaning "gathering" or "collection," which in turn comes from the French verb assembler meaning "to assemble" or "bring together". Ensemble then perfectly embodies what this project is.

This type of semi-circular stage became our setting for the performance. Everyone in the performance was also placed on the same level, to make sure everyone is equal.

We used the names of the machines in order to personify them in a way, to highlight the fact we see them as participants of the orchestra operation and co-existing on the same level as the human players.The names of our typewriters are Erika Model and Monica Olympia. Two feminine names.

<IMAGE OF TYPEWRITERS PLAQUE NAMES>

During feedback session with Manetta we have been made aware of the fact that these names are not neutral. And it is worth considering this point. When the typewriters were made, in their original context, naming the machines with women's names was used to reinforce gender-roles at the time. Subordinating women to the role of women's work to production work, not unlike the machines they used. The men do the thinking, the women are the secretaries. The naming of the machines with women's names suggests their work is equated to each-other. Our aim for this project is to re-mix these contexts, to call them into question. Choosing the setting of a formal orchestra follows this same line. Taking this setting, but presenting it as an experimental ensemble of typewriters and humans, creates an ironic tone in our performance that questions the validity of that formation. And likewise, by taking the names of the printers out of their original context, inviting them on stage in a collaborative music performance, we give them a new interpretation. Imagining just one other way-among many-to relate to technologies and established relations of power.

<IMAGE OF THE EVENT>

Performance structure proposal Walk in in line like an orchestra. Align towards the audience and bow. Go to the machines. Load the paper. Theatrical gesture of raising the index finger and start the Dot Matrix script. One after the other, humans start to perform with a machine. At some point Daan goes in front and performs with the body. When Dottie goes silent, the performance ends from there. Humans goes in line at the front, they bow at the audience and then they leave the scene.

<IMAGE OF THE EVENT>

Cognitive Assemblage

While discussing our concept, we came to an understanding that we were dealing with a cognitive assemblage. The trial and error while trying out rhythms on the typewriters, and getting the Dot Matrix to work, gave us the insight that we’re working with more cognitive agents other than ourselves. They needed special use and care. Only working with us if handled in it’s right form. They’re delicate machines. It was clear that we couldn’t just exploit their talents.

Using the media in a different way than it was intented, to manifest a role that it wasnt programmed to do before.

Score notation

When speaking about music and performing it, a major topic that comes up it's the notation of it.

Since in the SI28 we faced questions regarding language and protocols, we developed our research also into ways of protocolling music & language and forms that goes against the standard ways of notation.

In our research we came across a lot of different examples of “new” non-standard ways of notation. Key examples are Anthony Braxton’s Synaesthetic Ideal and Notations for Improvisers, John Coltrane Coltrane Changes - Circle of Fifths and Giant Steps | Visualized on a Mathematical Space, Daphne Oram Oramics and Jani Christou.

During a trip to the Antwerp Art Books Fair 2025, Ema randomly came across MELODY III BOOK II by Jon Gibson (1976) in which FILL HERE WITH THE TEXT FROM THE BOOK -

By seeing Jon Gibson example we then started to interpret in in new different ways

To get the a  new visual documentation from the piece we're making. As we're making the piece, the documentation becomes a new musical piece/or at least an interpretation.

Reflections on notation-scoring

Our output printed on paper will fall in between on music score written before playing music and music score produced after having recorded music.

Our output can also be read as a score in order to interpret what is going on

The machines we dealt with prints on continuous tractor feed paper, which has holes on the sides to guide it through the printer,

The agency in creating the scoring is shifted from a purely human process, to a collaborative one between the printers and human players. From the viewpoint of established music, the notation is part of creating a musical piece, and fixing it on paper before being played. The instrument is the tool through which the sound is produced.

The notation being the formal process that encodes sound into a system that we can understand as music.

In our case, we had to work together with the machines in order to understand how every particular machine creates sound and in by which perameters they work. If we want to use a machine that is intended for producing text as a tool to make sound, we follow the perameters of the machine to learn what the possibilities are for creating sounds that to us have a musical quality. Text output has become a documentation of the printers sound production that does not follow the formal system of music. And it is up to the human players to work within the printers perameters and understand how it comes to produce sounds from text.

The typewriters repeat one strong sentence or word over and over.

Reference to The Shining (1980): all work and no play makes Jack a dull boy.

Ema came up with ‘Everything is noise. You interpret.’ as an open critique onto how music also commonly falls into highly standardizations and on how humans are always drawn to categorazation and how it’s impossible to run away from it.

NAME and ENSEMBLE MEMBERS

First of, the working title for the project was Typewriter Orchestra. This was rapidly Changed into Writing Machine Ensemble when Dottie (NEC Dot Matrix printer) joined the room. Also the word orchestra describes a musical set-up which has to contain string instruments. We ran with ensemble since is was frequently used in jazz music. The word lends itself for a more open and general collection of objects and players.

This type of semi-circular stage became our setting for the performance. Everyone in the performance was also placed on the same level, to make sure everyone is equal.

Performance structure

Walk in in line like an orchestra.

Align towards the audience and bow.

Go to the machines.

Load the paper.

Theatrical gesture of raising the index finger and start the Dot Matrix script.

One after the other, humans start to perform with a machine.

At some point Daan goes in front and performs with the body.

When Dottie goes silent, the performance ends from there.

Humans goes in line at the front, they bow at the audience and then they leave the scene.

INSPIRATIONAL CONTENT

On sound and unsual instruments:

ByteBeat

https://dollchan.net/bytebeat/#4AAAA+kUzNNDSKLGzM68pqQFSZpraJkC+GpBpaAwRAAA

NOTES

The word "orchestra" comes from the ancient Greek word orchestra (ὀρχήστρα), meaning "dancing place," and referred to the semi-circular area in front of a Greek theatre stage where the chorus danced and sang. The term was borrowed into Latin (orchestra) and then into English around 1600, initially referring to this theatrical space but later evolving to describe a large group of musicians and the area they play in.

https://pzwiki.wdka.nl/mw-mediadesign/images/b/b1/Typewriterorchestra.png

Researchmoment Typewriter Orchestra - 13-10-2025

First studio session in which we experimented with amplifying the machines. We gathered stormmics connected to a mixer. At this point we only had one or two little .txt scripts, containing abstract repetitive lines which created somewhat of a beat. Our own musical notation was created.

Researchmoment Typewriter Orchestra - 23-10-2025

Ema took home the Dot Matrix printer in the autumn break. On a rendez-vous at his house in Charlois we experimented with many more .txt musical notation. We also jammed the printer and had a long discussion on the philosophy of our project.

Daan: the use of vocals? > using the body as a printer, documenting the operating system of the body and see what sound that makes

poesie sonore by lettrists - sound poetry, Steve told me about laurie anderson's drum computer

Imogen Heap's body instrument, in which she controls the effects with her hands

Robin: direction of documentation, capturing visual input and output, gotten from the orality and literacy, layers of abstraction that comes from that

Ema: really your body works as a printer, computer is the mind and the printer is the body, a thought really has to be translated in order to come out of your body.

Robin: Post print by Hayles. Interpretating and making something meaningful, is also something non-sentient beings are doing. To be able to interpret and translate it into a meaning. Making meaning through interpretation.

Steve gave example of knotmaking. Robin: There's embodied practices, then there's and abstraction going on when you are documenting that, and the tension between these two is what's interesting to me. The score we are making is a way to present this tension. We demonstrate that you can use everyday tools, but if you are experimenting with it, you are playing with that tension.

Ema and Steve's talk:

• Just a minute radio show part of The News Quiz.
• Andre Castro - musician who played with scoring notations

• BANK project

Experimentation Moment (Studio) - 30-10-2025

Performance overview

PREPARATION FOR WRITING MACHINES:
pen-plotter: bring multiple pens 
dotmatrix: robin's laptop + usb cable
typewriters: good to go
body: pigment powder, tape (for keeping paper in place, framing the area so audience doesn't stand there?)
all: a lot of dotmatrix paper for scoring, extension cord for plugging plotter, dot, laptop.

check monday in worm for table cloth, if not there, robin brings from studio
load all printer stuff on card on tuesday to bring to worm on wednesday morning 9:30
(sidenote: Luca asked if we could transport the books for his project on the card)

PREPARATION FOR COSTUMES:
humans: as black / formal as possible (maybe paper bowties?)
machines: come as your best beautiful selves
robin: suit, as formal as possible

PREPARATION FOR PRODUCTION:

/ I don't have a good overview hehe, if someone wants to add important notes here?/*

SET-UP:
on tables
- typewriter 1
- typewriter 2
- dotmatrix + computer with right files
- pen plotter + pen colors

on floor in front
- A body + pigment powder

all writing machines are set up unloaded with paper, with a microphone.
sound checked for the right volumes.

PERFORMANCE RUN-THROUGH
machines are set on the table, unloaded.

0 min: humans walk up to stage, holding stack of dotmatrix paper as if it's a score sheet.
they greet the applauding audience. Then, accompany their machine counterparts and prepare them for the performance.
They load the paper, test the sound, etc. then check in with the other ensemble members if everyone is ready to start.

When everyone is ready, Robin takes a moment to clear their mind, focus, then send the dotmatrix the cue to start.

The dotmatrix starts with an opening sequence and follows it up with a steady rhythm the other members can follow.
From here, the ensemble builds up the sounds by introducing new players one-by-one. They have space to improvise.

And the 8 min mark, Daan will walk up to the front to lay out a line of paper and will start playing the body. 
(From here, the other members will have some space to move around?)

During the performance the dotmatrix will have moments of silence to give the floor to the other players.

around the 15 min mark, human players will leave the stage one by one.
The dotmatrix will be left to play out it's last sequence followed by a small silence to indicate the end of the performance.

the human players will walk up to the front of the stage and bow to the audience, 
gesture at the machines to receive their applause, then, exit the stage again.

The performance is over.

DOTTIE's PROTOCOL
The dotmatrix will play sequences of 4x16 lines, to keep a steady rhythm for at least about a minute each time.

Only the fragments we played during the rehearsal on thursday 13th nov will be used.