ABSTRACT
While the concept of modularity is used widely, and in different ways, Hannah Bosma focuses on a fringe case of modular synthesis of electronic music: The Willem Twee Studio 1 in the Netherlands. This is a studio with equipment made for other purposes than electronic music, before the first modular synthesizers were developed, and arguably functions as a giant modular synthesizer. That said, the studio also resists some aspects of culture associated with contemporary modular synthesis, notably a rejection of rapid obsolescence and resisting the constant change of technological systems as driven by innovation and commercial dynamics. Instead, the Willem Twee Studio encourages one to develop an ongoing and intimate relationship with a stable and slowly evolving system through a process of attachment, commitment and flexible integration.
