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box - 1.2 core questions + method

During a performance, what are the mechanisms in play that shift my viewpoint of the improvisation machine between viewing it as a separate entity (i.e. chamber music partner) to viewing it as an extension of my body/mind/mindbody (in reference to Hayles and

box - 3.2 AIYA for MIDI keyboard

The programmed interaction rules were rather explicit, AIYA functioned more like a program used for live sound processing as opposed to appearing as an "intelligent" improvisation partner.

box - 3.6 diaphragma

_improvisation. _representation. _instrument. Control. I revisited my previous implementation of an on/off switch for the improvisation machine and thought about how I could address this mechanism in a different way.

box - 1.3 position on key issues

Distinguishing between improvisation partner and tool. I make a distinction between an improvisation machine (an objective description of the software and hardware involved in the machine’s expression) and an improvisation partner.

box - 3.1 aiya overview

I regard glitches as a way for the machine to appear as a “separate entity,” and perhaps even as an improvisation partner. This contrasts with the aforementioned attribute in.

box - 3.7 aiya meets self

The machine was effective in creating a sense of immediateness from the participants' actions, however, the machine did not provide much transparency, resulting in the perception of the machine as more of a hybrid between instrument and improvisation partner

box - 1.1 introduction

_improvisation. Creating a musical improvisation machine can be regarded as practical way to learn more about the character of its creator.

box - 3.5 A->B

_improvisation. _control. Becoming 2-dimensional through my shadow. This is not the first time I have used my shadow as a way to become more integrated into the otherwise 2-dimensional projection visuals of the improvisation machine.

box - 3.4 bad decisions

_improvisation. _narrative. _translation. _transparency. next ►. ◄ back

box - 3.3 AIYA improvisations

sonic identity to AIYA, as these sounds would be present in its improvisation language, even if the human partners would change. Something about that bothered me, I suppose, because I wanted AIYA’s own sonic identity to be as “context-aware” as possible.