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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 - 1.1 introduction
www.chua.ch/box/1-1

machine, the left-hand column displays tags of concepts that each paragraph touches upon. Clicking on the tags will reveal a search result of all references of the tag from this thesis. _space. _movement. [1] “AIYA” is named after the Chinese expression of the

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

communicate and play with AIYA. Ableton is also used for the first time as the sound "engine" for AIYA. The AIYA Max patch sends MIDI commands to Ableton to control the playback and sonic parameters of the sounds. _installation. _movement. _space. _glitch

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

the ZHdK ICST (Institute for Computer Music and Sound Technology) VST Ambisonic plugins. Technically, the signal flow from the human performer to Chaosflöte and improvisation machine can be summarized in the diagram below: _sonic-identity. _buffers. _space

box - 4. black box fading
www.chua.ch/box/4

the ZHdK ICST (Institute for Computer Music and Sound Technology) VST Ambisonic plugins. Technically, the signal flow from the human performer to Chaosflöte and improvisation machine can be summarized in the diagram below: _sonic-identity. _buffers. _space

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

myself playing in the black box, I could create an even stronger illusion of three-dimensional. _space. that both the machine and I appeared to exist in. Using immersive production techniques in general helped to create impressions of physical "embeddedness