Bodyscan 223, a Misfit Cyberpunk Act.

I created the visuals and sound design for Bodyscan 223. Bodyscan 223 is a media dance event by Robin Nimanong, scanning our conflicted ideas about technology, accessibility and queer identity. The dancers present their queer bodies as testimonies against errored structures of society. The work premiered at Amsterdam Fringe Festival in September 2021.

The audience scans their own experience through the non-conforming performers. Together they will enter a futuristic cyberpunk experience. Artificial Intelligence and big data are increasing inequality and threatening democracy. What if algorithms will control your lifepath? Will credits control our emotions?
There has been more and more online safe queer spaces popping up online. But when are they real? The dancers will discover the current reality in this queer hybrid research.

Dance artist Robin Nimanong develops his work in the field of society and queer art, to aim for unheard voices to be heard. Consisting of the interest in dance, the body and media. He combines these with questions about identity, self-care and activism, crossing borders between dance and other disciplines.

Media Artist, VJ and DJ: me

Dance Artists:
Joley Rammon Groeizaam
Jeroen Tiyuen Janssen

Lara van Lookeren

Athina Liakopoulou

Scenography: &

Poster: Jeisson Drenth

Supported by: Amsterdam Fund for the Arts, Prince Bernhard Cultuurfonds

Research supported by: Janivo and Fonds Podium voor de Kunsten.


Visual design and audio mixing for Casco Art Institute

I collaborated with Casco Art Institute to do the audio mixing, video editing, subtitling and visual design for the concert series held at Casco in Utrecht during the lockdown period.
Concerts were performed by Mira Thompson, Shishani and Marikit as part of ‘Common Grounds: Song / Value, Channel 1’, by Casco Art Institute.

Sound descriptions by Casco’s Staci Bu Shea.
Visual identity for the Live Concert series by Yessica Deira.

Piano by Thijmen Schoute

Check the full program of Common Grounds: Song / Value via

RE:VIVE x Dekmantel present ‘Scores III’

Scores III is an audiovisual project commissioned by The Institute for Sound and Vision to producers Interstellar Funk and Guenter Råler.

“The Netherlands Institute for Sound and Vision’s RE:VIVE initiative and Dekmantel teamed up for the third time to invite artists to bring fresh music to a curation of Dutch archival films. This year Artificial Dance label boss Interstellar Funk teamed up with Dutch visual artist Sjoerd Martens and Amsterdam-based visual artist and composer Guenter Råler.”

I am elated to be part of this year’s Dekmantel Connects, with ‘Scores III’, presenting an audiovisual work that I composed and scored for RE:VIVE. The film will be screened on Decemeber 16th h 21.00 on Dekmantel’s website.

‘Scores III’ is a collaboration between RE:VIVE (The Netherlands Institute for Sound and Vision) and Dekmantel. I had the amazing opportunity to work with their extensive archive, focusing on nature-related material.

The score will be released on vinyl on May 17th on Dekmantel records and Rush Hour.

Untraced/Untitled: ‘Queering the City: A Sono-Orientation’ at Matadero, Madrid (ES)

Exhibition: “TWELVE CAUTIONARY URBAN TALES” – An exhibition not about what the city is, but about what it can be.
Where: Matadero, Centro de Creaciòn Contemporanea
When: 13 Feb 2020 – 31 January 2021
Read more: 12 urban fairy tales, 12 installations, 12 ways to imagine the city (at Matadero)” on Domus

Queering the City: A Sono-Orientation is an installation curated and designed by Katayoun Arian. It includes aural works by Angela Anderson, Irene Cassarini, Gayatri Kodikal and Karachi Beach Radio. The installation is part of the exhibition Twelve Cautionary Urban Tales, curated by Ethel Baraona Pohl.
On view until January 31st, 2021 at Matadero in Madrid (@mataderomadrid).

Statement from the curator Katayoun Arian:
‘Queering the City: A Sono-Orientation’ is an installation that I have developed and convened for this purpose from the standpoint that a non-differentiated binary logic that underlies the ‘urban’, i.e. the ‘rural’ (read: natural), insists on a separation in order to mystify the damage being done to peoples and ecosystems which are not part of the urban imaginary. It is a logic, an orientation, that rests on an idea of a permanent divide, an inside-and-outside-of-the city, which particularly in times of climate collapse, isn’t true to life. To queer this orientation is not an attempt to seek for particular outcomes or answers. Rather, it is a calling into question and a means of interrogating our-being-in-the world in relation to our lived environment, and systems and structures of meaning and power, as and where they exist. The installation provides a setting for different soundscapes and sonic eruptions, comprised of works by Angela Anderson, Irene Cassarini,
Karachi Beach Radio, and Gayatri Kodikal. These works resonates the necessity for a collective attendance to a continuum of vibration that precedes and exceeds the human spectrum of audibility and perceptibility. They call for a surrendering of ourselves to become part of the multiplicity and the continuum of the vibrational forces of the Earth. The respective works by the participating artists, pay attention to the work that sound does, and the realities and meanings it creates.
Can an orientation to the world in which all sound is understood as queer, signal a planetary turn in a different direction? A flight into the world. An attending to the subtone of our planetary hum, holding open the very possibility of a (different) future as such: a sono-futurality.

The commissioned sound work I composed for the installation Queering the City: A Sono-orientation is titled “Untraced/Untitled” (2020), presented as a sonic inquiry exploring the topics addressed in the exhibition.

Considering cities as entities where human and non-human cohabitation takes place, both physically and sonically, the work addresses the numerous challenges faced in future ecologies in which unsustainable models of hyper-technological skylines and digital mappings, are continuously fetishized. In this speculative future, the building of a capillary system of policing and surveillance meets queer beings through sounds, and those who provoke friction and dissent, by engaging in counter-hegemonic movement through noise. These qualities of the future city, are expressed through evolving layers of sounds, in which dissonant elements appear out of place, trying to blend in or resist.

Two soundscapes on headphones, auralize a fluid urban landscape in which levels of loudness that create a hierarchy of importance and mask the effects that cancel out weaker sonic elements, are negated by a complex ecosystem. Coexisting elements meet and collide, aggregate and disperse. A fluid city is a web of complex realities, and a sanctuary for deep diversity, where human entities are submerged in the aural realm. At the same time, a dystopian and cautionary hearing always remains present, as often non-normative communities remain unseen, untraced, untitled, and anonymous in a larger networks. Untraced/untitled is a sonic inquiry into speculative ideas of (im)possible futures of the city, a narration about in/exclusion of humans and non-humans within surveillance and regulated environments. Noise is considered as a queering element of sound: It is a disturbing agent that challenges the normative spectrum. It is unwanted sound symbolizing unwanted queer ecologies and futures.
The two sound pieces as part of the installation, explore the relationship between queering sound, cities, the ‘nature’ and ‘culture’ divide, and the concept of the sonic spaces as translated into a fluid landscape, where distances and proximities are created through timbre, volume, reverb and equalization.
Untraced/Untitled (2020) consists of two audio tracks:

Pt. I, 14’36, on headphones
Pt. II, 16’15, on headphones


Live sound design @Eye Film Museum in Amsterdam

“HKU meets EYE” is an annual project for live music and live sound design for silent movies. In the video you can see the  final performance of the movie “Wings” (1927) at the Eye film museum in Amsterdam on June 9.

Sound designers/Foley artists: Irene Cassarini, Qing Sun, Cristo Puppers, Max Oostveen, Yorick Sedee and Greg Candel from HKU University in Utrecht.


“Meets Eye” is an annual live performance with a silent film, presented by HKU Music and Technology and Eye Film Museum. This year the students composed music for “Wings”, for a long time the only silent film to win an Oscar, until the Artist won prizes in 2012. Wings received an Oscar for Best Film and Best Special Effects. The music is performed by the Keuris Ensemble conducted by Henry Kelder. Together with the HKU sound designers and sonic performers, they bring the spectacular Oscar winner Wings to life.

More information at


Sound design for videogame ‘KIO’

The Showcase video for Kio, a game made by Prickly, a group of 6 students at the University of the Arts in Utrecht. The Game is created in Unreal Engine 4.

Kio is a single-player puzzle adventure game, with a future-fantasy theme.

Kio is the daughter of a master in glassblowing. When her father does not return from a mission to find out why the power fails so often, Kio grabs her blowpipe and goes on a search for her father. In her search she finds out that her world is very different from what she had thought. She has to go further and further into the depth of her world through her blowpipe.

• Team, creators and developers:

Sinusaur team- music (

Irene Cassarini – sound design and SFX

Ilona Evers – Character Artist

Jesse Heida – Environment Artist

Jesse van Vliet – C++ & Gameplay Programmer, Technical Artist

Maria van Veelen – UI & UX Design, Technical Artist

Marjolein Joosse – Game & Puzzle Designer

Rik Geersing – Gameplay Programmer

Music and sound design for the short animated film “Before Sunrise”

For the graduation of my bachelor in electronic music composition and sound design, I did the music score and sound design for the short animated movie “Before Sunrise”.
“A silent fairytale set in a quaint village in the dead of night. While everyone sleeps, shadows come alive and dance and play in the moonlight. But one shadow longs for something more meaningful. While walking across the rooftops he spots a light in a distant window…Heavily inspired by my love of German Expressionism.  This was my first animated film and I am constantly amazed by its popularity which is now into millions of online views.”

Writer/Director: Kealan O’Rourke
Producer: Trinity Films
Animation: Brown Bag Films
You can watch the original video here.