METADEXTERIOUS Instrument ARCHIVE

This build log offers an overview of the instruments I have been designing, engineering, and constructing as part of the Anklepants project since 2007. While many of these instruments are now complete, several remain in development.

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In my work, I have sought to define a term that encompasses the user experience of interacting with these systems — what they are designed to accomplish, the goals I aim to achieve through their engineering, how they function in practice, and what I envision them ultimately contributing to. A central theme in my work is the expansion of dexterity — designing instruments that facilitate the use of precise, intuitive movements, movements that are common in everyday life, and channeling them into musical and gestural decision-making processes.

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In parallel to this physical and technological exploration, I have focused on creating instrument

systems that are not bound to the traditional framework of twelve-tone equal temperament

(12 – TET) or other specific harmonic systems. By moving beyond 12 – TET and exploring

alternative tunings, I aim to offer musicians a broader sonic palette, grounded in a more flexible

and expressive approach to pitch and harmony.

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Additionally, I have sought to extricate my work from the entirely linear process characteristic of

contemporary DAW – based music production. Modern DAWs often prioritise quantised, rigid

workflows, which I believe restricts the spontaneity and expressiveness inherent in live

ays that reflect the performer’s immediate intentions.

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My primary objective is to facilitate nuanced performance with electronic instruments — a feature

that is inherent in acoustic and acoustic-electric instruments but frequently absent in their

electronic counterparts. The rapid evolution of technology, coupled with the accessibility of

low – cost electronic components, prototyping tools, and an expanding body of educational

resources, enables the creation of devices that repurpose familiar movements and apply them

in new and expressive ways. This approach aligns with my broader aim to reimagine electronic

interfaces as tools for more dynamic musical engagement with the machines.

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This work represents a significant shift from my earlier focus on the guitar, an instrument to

which I devoted much of my youth. However, over time, I chose a different path, to

explore the creation of instruments that defy conventional use. These instruments require a

rethinking of both the conceptual framework and the interaction model, demanding that

performers engage with the technology in new ways.

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In its current form, the entire instrument system — comprising the Microphone/controller, Suit/Body instrument (including antennules), right – hand controller, and shoes — features over 70 realtime inputs. These inputs consist of a mix of analog floating, dynamic inputs and digital boolean inputs. Each input is strategically positioned or designed to correspond with specific areas of the body, enabling precise control for the activation or modulation of each respective input. In many cases, inputs are designed to interact or function in conjunction with others, allowing multiple parameters to be modulated simultaneously in a controlled, intentional manner. This configuration effectively transforms the system into an extension of the performer’s body, akin to an additional limb, thereby expanding the user’s dexterity and facilitating more nuanced control over the instrument.​​​​​