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box - 3.6 diaphragma
www.chua.ch/box/3-6

_representation. _composition. _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 - 1.1 introduction
www.chua.ch/box/1-1

_representation. This thesis serves as a technical and conceptual documentation of AIYA’s development, where each stage of its development is accompanied by a performance work created for it.

box - 3.3 AIYA improvisations
www.chua.ch/box/3-3

_representation. _buffers. _control. _vulnerability. The question of sonic identity.

box - 3.2 AIYA for MIDI keyboard
www.chua.ch/box/3-2

_representation. Making Connections. I had my colleagues in the M.A. Transdisciplinary Studies program try out this version of AIYA in a non-performance setting. I noticed two interesting aspects: 1.

box - 3.5 A->B
www.chua.ch/box/3-5

_representation. _movement. _space

box - 3.4 bad decisions
www.chua.ch/box/3-4

_representation. _narrative. (above) signal flow of this version of AIYA, as used in. bad decisions. (above) the face of Bec Plexus in. bad decisions. (above) full recording of. bad decisions.

box - 3.1 aiya overview
www.chua.ch/box/3-1

_representation. [1] While this can be useful for some improvisations, especially in the Jazz context, many improvisations do not follow the traditional Western concept of “playing in a key”; thus, the usefulness of this measurement can be negotiated. [2] In

box - 3.7 aiya meets self
www.chua.ch/box/3-7

_representation. _reflection.

box - 5. conclusion
www.chua.ch/box/5

_representation. of myself into the projections, seen on the right. The 360° video format in. black box fading. also yielded interesting visual possibilities for playing with the. perception of bodily dimensions.

5 - black box fading
www.chua.ch/p/bbf/5

_representation. Listening to the fingerprint of the machine. Recording the material used in. black box fading. proved to be a challenge due to the low-light setting of the scene.