"Nie entstand der Eindruck einer von Technik bestimmten Musik. Chua verwendet die Technik als Mittel zum Zweck, setzt sich musikalisch darüber hinaus und haucht damit ihrer Performance jenes Leben ein, das direkt die Emotionen anspricht."touch for the shortcut to the other dimension
-Anzeiger von Uster, Züriost
Concert of works from the Dr. artium candidates of the Kunstuniversität Graz/Zürich University of the Arts.
World premiere of a new work for synthesizer (Maryam Mehraban) and improvisation machine--more details to come...
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Lecture: "Magic as a queering oracle technology"
with Paloma Ayala
at the Design and Magic Symposium HKB | Kornhausforum Bern
more details to come...
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Exhibition: Experimental Ecology - Art and Science in Dialogue
Collaborative installation
concept lead, video: Riikka Taurianen (Artist, Zürich), Meike Vogt (Biochemist, ETH)
sound: Kay Zhang (Artist, Zürich), Melody Chua
interaction design, sensors: Melody Chua
"In the spirit of the famous E.A.T. – Experiments in Art and Technology, an initiative launched in 1967 pairing artists with engineers, thus enabling a new sense of exchange, the project Experimental Ecology offers a contemporary platform for collaborations between artists and scientists in the field of ecology. Five teams will develop novel ways to re-think our impact on the biosphere. The encounters and the resulting ideas will be presented in a symposium with workshops, an exhibition, and a book to spearhead new ways to understand our relationship with our environment."
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STUDIO ZYKLOS (Melody Chua, Chi Him Chik) premieres a new work for sensor-augmented human-machine quartet. More details to come...
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Working residency for STUDIO ZYKLOS (Melody Chua, Chi Him Chik) at the Immersive Arts Space Zürich, developing a new work for two humans and two improvisation machines (human-machine quartet).
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Publication: "The machine is your mirror, but do you recognize yourself?"
Chaosflöte – Improvisation: Wie ein musikalisch/künstlerisches Projekt Fragen zu Identität und zur Interrelation zwischen digitalen Medien und analogem Spiel aufwirft – ein Erfahrungsbericht
2023 PLATEAU | HfM Trossingen
"Die Entscheidungen, die wir bei der Entwicklung der Improvisationsmaschine getroffen haben, sowie das Verhalten der Maschine in der Praxis artikulieren auf unheimliche Weise Teile unserer Identität, die nicht explizit benannt oder offengelegt werden können. Die Praxis des Erschaffens und Aufführens mit unseren Maschinen wird zu einem Weg, Teile von uns selbst zu verstehen, die normalerweise unter den Filtern unserer alltäglichen Wahrnehmung verborgen sind, aber durch ein klingendes Gegenüber offenbart werden. Passivität, Impulsivität, das Tempo unserer Ideen, unsere Toleranzen für Unannehmlichkeiten und auch unsere Nachsicht werden in klanglicher Form reflektiert.
Es wäre jedoch eine verpasste Chance, wenn die Improvisationsmaschine lediglich ein verklärter Spiegel der Künstler*in wäre. Stattdessen könnten Maschinen eher als Sparringspartnergesehen werden, welche Begegnungen mit Facetten unserer Persönlichkeitermöglichen, die wir vielleicht übersehen: Konfrontationen mit unseren musikalischen Gewohnheiten, Manierismen, Ungeduld, intuitiven Impulsen. Warum programmieren wir unsere Maschinen so, wie wir es tun? Welche Besessenheit von Kontrolle, Macht und Überfluss offenbart dies über uns selbst? Könnten wir zu mehr Empathie gelangen, wenn wir mehr darauf achten würden, wie wir unsere Maschinen programmieren und mit ihnen spielen, wie wir sie behandeln und betrachten und wie wir daher Beziehungen zu Menschen aufbauen, die anders sind als wir und aus anderen Welten kommen?"
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World premiere of a performance for chaosflöte (Melody Chua), improvisation machine (AIYA), dancer (Jaira Peyer),
interactive sound, projections, general multimedia chaos
"The Ocean says 'on earth we are briefly gorgeous'
And in our improvisation, we are briefly kind.
No heroes, no villains, only joy in
quiet days and silent spaces,
filled with gentle intentions
that shine like the brightest of stars."
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River Oracle Residency | As guests of Romy Rüegger @ Windler Stiftung, Stein am Rhein
Field recording, oracle-making, exchanging ways of knowing water bodies...
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Exhibition of Echos I-III by Tina Omayemi Reden
winner of the Vordemberge-Gildewart Stipendium 2023
Ceramics: Ursula Vogel, Tina Omayemi Reden
Sound, sensors: Melody Chua
------
Can I create an intimate touch
a connection between the margins of my voice
and the permeable beginning of another body?
-Tina Omayemi Reden
------
The Vordemberge-Gildewart Foundation annually awards a work grant to artists under thirty-five years. In cooperation with exhibition venues, the award competition has been held in various European countries since 1983. The award, which comes with a prize money of 60,000 Swiss francs, is one of the highest endowed scholarships for young artists in Europe. The grant was initiated by the founder Ilse Leda, the wife of the artist Friedrich Vordemberge-Gildewart (1899–1962).
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U.S. premiere of dragonfly (for sensor-augmented flute and improvisation machine)
"Dragonfly" is a stereo, single-projection adaptation of "Escher's Dragonfly," a work originally calibrated for hanging transparent screens and four overhead projectors at the Zürich University of the Arts Immersive Arts Space. Although the differences between the two versions are pronounced, the core of both is the preoccupation of the performer's sonic, spatial, and temporal relationship with her improvisation machine. There is a palpable tension between the machine and its various fluid identities, among which include: an environment, a sonic extension of the human performer, and a distinct improvisation partner in counterpoint with the human performer.
The text fragments, a fleeting glimpse of the machine's narrative identity, flicker in response to the performer's playing and also freeze when the performer moves too wildly, almost as a protest from the machine to re-balance the audience's attention from its normally biased focus on the human performer. Yet, in this preoccupation of "who is in focus," one steps back and asks themselves, why do we struggle to escape dualistic references when describing this posthuman system? No concrete answers, but as one such text fragment describes:
"When speaking of the machine as a gradient being fading into its human counterpart, we speak of an 'almost,' we speak of an approach, like the feeling of getting so close to the sun as to feel its heat but not close enough to burn completely--the feeling of being almost alive. In this comfortable distance, we can imagine flesh and metal as two sides of the same coin, chance encounters. Like Schroedinger's cat, to make a concrete observation is to forfeit the possibility of an alternate reality. So we choose to preserve the ambiguity and the "otherness" of the situation. Indeed, there is an assumption of difficulty engulfing it all--difficulty as distance, difficulty as trance, and also despite that, the continual forward-motion that all time arts exhibit, like the force of walking underwater."
Composition/programming: Melody Chua
Performer: Julianna Eidle
Improvisation "machine": AIYA
Audio recording: Sean Hamilton
Video recording: Brendan Sweeney
Post-production: Melody Chua
Trailer: https://www.youtube.com/watch?v=zydLQwkFDzU
Full video: https://www.youtube.com/watch?v=0P8Ruzb4dLg
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An oracle-making and sound workshop: This performative process addresses the concepts of liquid bodies and hydrofeminisms, emphasizing touch as a horizon.
RIVER ORACLE is created in and by the Rhein river with visual artists Paloma Ayala, Anne-Laure Franchette and Riikka Tauriainen, with sound artists Melody Chua and Kay Zhang. RIVER ORACLE started as a cyanotype series printed in the Rhein river basin, in which diverse narratives of care in rural land, in riverine ecology and industry, are told through a speculative approach.
This project is meant to be a tool to situate ourselves as humans in our relationship with water bodies. As methodology of thought, the RIVER ORACLE is a way to develop artistic work in a situated practice that emphasizes our connections to the more-than-human. As a research and pedagogical approach, the project connects to feminist speculative practices: the oracle becomes mediator and facilitator of communication between diverse feminist discourses of Earth care, of inter-dependencies, of anti-colonial thinking, and water bodies. Ultimately, we want to focus on how significant and necessary it is to shift our anthropocentric thinking in order to develop different relationships with planetary beings.
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Touching reverberations - sound-touch exhibition by Tina Omayemi Reden with Melody Chua Martha Mutapay, Tapiwa Svosve, Ursula Vogel
"When do we touch? Don't we get constantly touched by voices and the presence of others, even if only by sound waves? Touch, even indirect, pleasurable, or unwanted, inscribes itself, turning us into the polyphonic beings that we are, reminding us that the other is always also a part of the self. Therefore, touch is the intimate threshold where the political begins. What if intimacy and tenderness prove to be radical means to resist?
Transdisciplinary artist tina omayemi reden moves around the practice of active listening and, as in her works of recent years, about listening in the broadest sense. It is always also a choice of where the attention leans. In the exhibition space, the audience influences the sound textures by moving around the ceramic vessels. They are and metaphorically stand for resonating bodies, with which people can connect. The sounds intermingle, permeate the spaces, and influence what we see and our own bodily perception."
Text by Caroline Ann Bauer
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Performance at the ZHdK/KUG Doctoral Symposium with noise artist Chi Him Chik. This performance is a practical realization of the improvisation machine system developed at the August 2022 PhD residency at the ZHdK Immersive Arts Space.
This work incorporates transparent screens and overlapping overhead projectors as a visual representation for the AIYA improvisation machine. The transparent screens, visualizing the improvisation machine, serve simultaneously as a projection surface, sculpture, and as a space in itself. Intentionally, the overhead projections bleed from the transparent screens to the floor and walls to create an illusion of continuance between the machine and its environment, intimating that the two are one and the same. The fluid nature of this representation, combined with the shifting lighting conditions of the overhead projectors creates an environment that at times conceals and at other times reveals the human performing in the space. As such, the performer appears integrated within the form of the machine, in an attempt to destabilize the traditional tendency for the human performer to occupy the foreground of the performance.
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Contributions to the HKB 20 Years of Sound Arts Symposium
Performance:
(1) of "Arborescencia" for flute and live electronics by Felipe Tovar-Henao
(2) "Dragonfly" for sensor-augmented flute and improvisation machine by Melody Chua
Workshop:
"Techniques for applying motion gesture [recognition and mapping] as an expressive medium"
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This month-long residency focused on the development of a visual representation for the AIYA improvisation machine using transparent screens and overlapping overhead projectors. The transparent screens, visualizing the improvisation machine, serve simultaneously as a projection surface, sculpture, and as a space in itself. Intentionally, the overhead projections bleed from the transparent screens to the floor and walls to create an illusion of continuance between the machine and its environment, intimating that the two are one and the same. The fluid nature of this representation, combined with the shifting lighting conditions of the overhead projectors creates an environment that at times conceals and at other times reveals the human performing in the space. As such, the performer appears integrated within the form of the machine, in an attempt to destabilize the traditional tendency for the human performer to occupy the foreground of the performance.
The projections themselves fluctuate between (1) displaying overlays of technical UI elements that informs the performer of the machine's analysis and action processes and (2) revealing virtual 3-dimensional spaces the performer traverses through (via motion sensor). The visual focus is fleeting, not revealing too much of one or the other at a given time, inviting audiences to interpret the nuanced connections between the machine and its visual representation.
A performance of this work is scheduled to take place on 7. November 2022. This project takes place within the scope of the Dr. artium degree at the Kunstuniversität Graz and Zürich University of the Arts, under the dissertation title "Developing a Visual Framework for Improvisation Machines: Investigating Impacts on Human-Machine Interaction, Posthuman Identity, and Performance Narrative."
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Featured keynote speaker. Performances of compositions for flute and electronics by Benjamin D. Whiting and Felipe Tovar-Henao.
Part of the 2022 CHIME Festival at the University of Chicago
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Interactive sound for the installation River Oracle, as part of the exhibition Zones of Kinship, Love, and Playbour.
with Riikka Tauriainen, Paloma Ayala, Anne Laure Franchette, Kay Zhang
"What kinds of tools can we incorporate into a situated more-than-human practice? The collaborative project River Oracle by Paloma Ayala, Melody Chua, Anne-Laure Franchette, Riikka Tauriainen und Kay Zhang is envisioned as an artistic-feminist research and tool to develop methods around practices for working with oracles and to speculate on what kind of meaning a shift in antropocentric thinking can have.
The River Oracle is intended as a situational tool for self-reflection as well as for raising awareness of ecological and political issues. Sounds were collected from different places connected to the Rhine: in the riverbed, in hydroelectric power plants, in the harbor and in boats. These sounds are transformed into a composition reflected in a sound installation representing the Oracle. In the space there are cyanotype textiles imbued with stories of the Rhine."
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Interactive sound for the installation River Oracle, as part of the exhibition Emotions are Oceans at Radius
with Riikka Tauriainen, Paloma Ayala, Anne Laure Franchette, Kay Zhang
"What kinds of tools can we incorporate into a situated more-than-human practice? The collaborative project River Oracle by Paloma Ayala, Melody Chua, Anne-Laure Franchette, Riikka Tauriainen und Kay Zhang is envisioned as an artistic-feminist research and tool to develop methods around practices for working with oracles and to speculate on what kind of meaning a shift in antropocentric thinking can have.
The River Oracle is intended as a situational tool for self-reflection as well as for raising awareness of ecological and political issues. Sounds were collected from different places connected to the Rhine: in the riverbed, in hydroelectric power plants, in the harbor and in boats. These sounds are transformed into a composition reflected in a sound installation representing the Oracle. In the space there are cyanotype textiles imbued with stories of the Rhine."
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Showing of 360° film black box fading at the Kleintheatre Luzern.
black box fading reflects Chua’s experience developing and working with a musical improvisation machine, and it can be seen as a transient imagination of this machine’s memories and dreams. This 22-min film in 360°/VR is composed out of a series of recorded improvisations made between the machine and Chua herself, as she experiences the machine as at times an external chamber music partner and at other times an extension of her own body. Occupying the realm between concert documentation and narrative film, and between physical and virtual spaces, this work challenges shifting representations of orientation and disorientation, distance and intimacy, vulnerability, human-machine agency, and immersive (dis)embodiment.
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"The Contemporary Art Music Project (CAMP) will host its inaugural CAMPGround festival from 24–26 March in the vibrant downtown areas of Tampa and St. Petersburg, Florida. CAMP seeks instrumentalists who will perform selected compositions and collaborate with 2022 CAMP performing artists and invited composers. Our featured performers in 2022 include Arda Cabaoglu, Melody Chua, Zachary Hale, Jamie Jordan, Eunmi Ko, Robert McCormick and the McCormick Percussion Group, Doug O’Connor, Carol Tsai, Sini Virtanen, and Katherine Weintraub."
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"The Non-Convenience Store" | Exhibition of queered games at Kein Museum, Zürich
"The Catch ('22)" by Melody Chua
A spin on the traditional game of catch, The Catch ('22) was an artistic exploration on how one might attempt to develop empathy for traditionally (and literally) discarded, "thrown (away)," objects, such as the ball used in the game of catch. By creating tension between the drive to complete the game's directive ("Throw the ball 100 times to win the game") and the opportunity to listen to the spoken stories of the ball, the game invited participants to question their own motivations for playing and to confront what 'winning' actually means for them.
About Queering Games:
"Queering Games ist ein künstlerisches Forschungsprojekt mit dem Ziel, neue Formen für Kunstwerke, Ausstellungen und deren Rezeption zu finden. Der Titel ist Programm: In Anlehnung an die Queer Theory dient uns Spielen als Methode, gesellschaftliche (Spiel-)Regeln herauszufordern. Am Projektende präsentieren wir dem Publikum innerhalb eines Kunst-Game-Festivals digitale Ausstellungsformate, welche die Erkenntnisse aus dem Projekt interaktiv erfahrbar machen. Laufend weitere Informationen gibt es auf dem Queering Games Blog."
https://www.keinmuseum.ch/queering-game-blog
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Featured Guest artist (Null-state), hybrid performance with sensor-augmented flute (Chaosflöte) and live coding
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Music video release for Max Petersen Trio's "No SM" as part of his new album LiberA.
"The forthcoming full-length release from German-Australian pianist / composer Max Petersen is titled LiberA. This fusion of the feminine and masculine aspects of the Roman god of freedom is very telling. It evokes the notion of pursuing freedoms: personal, civil, musical, and creative. It also speaks to an active engagement with the synthesis of apparent opposites: jazz / classical, synthetic / acoustic, formally restrictive / improvisationally unbound." - Lukasz Polowczyk
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