Search results

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

delineates composition, improvisation, and instrument? _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

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. In an attempt to organize the narrative of the creation of the

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

would also turn off AIYA’s sound output. “How does the machine know when the improvisation is over?” a mentor once mused, years before I created AIYA. This switch was an easy answer (for now). _sonic-identity. _extendedness. _representation. _buffers

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

_improvisation-partner. _distinct-entity. _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. For the participants

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

identity? _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. Putting a face to the machine. bad decisions. was also

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

movement in both physical and virtual spaces, the effect of feeling more integrated with the machine and more embodied with the machine became stronger. _control. _space. _glitch. _vulnerability. _dialogue. _embodiment. _representation. _movement. _space

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

installation to the participants waiting outside, showing at times the camera feed of the active participant that was moving within the space. _representation. _reflection. Video documentation of this work can be seen below: [1] When referring to “physical

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

projections. as an illusion of giving the improvisation machine a three-dimensional character, in order to match the three-dimensionality of my body. On top of this, I also embedded a two-dimensional. _representation. of myself into the projections, seen

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

switch for the machine. 4. black box fading. – 360°/VR video, interactive installation, and spatial audio work. _translation. _performance-practice. _hybridity. _translation. _black-box. _performance-practice. _representation. [1] While this can be useful for

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

_improvisation. _immersion. _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. The footage of the 360° video would appear dark