Connection to Artistic Practice
Master of Arts (Flute Performance) (2016-2018)
> Creation of Chaosflöte as a starting point for interfacing with live electronics in improvised performance and
developing my initial relationships with machines in this context.
> Developed an artistic practice of coding/performing with live visuals and examining its impacts on my
relationship to the electronic elements of the performance as well as its impact on the narrative of the work.
> Creation of Chaosflöte as a starting point for interfacing with live electronics in improvised performance and
developing my initial relationships with machines in this context.
> Developed an artistic practice of coding/performing with live visuals and examining its impacts on my
relationship to the electronic elements of the performance as well as its impact on the narrative of the work.
(above) excerpts from works I have made for the Chaosflöte with interactive sound/visuals.
(above) complete chaosflöte setup (local WiFi hub, wireless microphones, keyswitch motion board (KMB), audio interface, laptop/software - Max & TouchDesigner)
Master of Arts in Transdisciplinary Studies (2018-2021)
> Creation of improvisation machine (AIYA)
> Reflection on machine agency, extended mind vs. separate improvisation entity, and impacts on performance
practice (primarily through the lens of sonic behavior and interaction design) in the form of a written thesis and
practical outputs (seven performance/installation works)
> black box fading: chua.ch/box/4 at the ZHdK Immersive Arts Space (May 2021)
> Creation of improvisation machine (AIYA)
> Reflection on machine agency, extended mind vs. separate improvisation entity, and impacts on performance
practice (primarily through the lens of sonic behavior and interaction design) in the form of a written thesis and
practical outputs (seven performance/installation works)
> black box fading: chua.ch/box/4 at the ZHdK Immersive Arts Space (May 2021)
(above) Impressions from the black box fading live event
(above) Signal flow of the configuration of AIYA that was used in black box fading. In this instance, AIYA functions as a buffer-based improvisation system, where the position and movement of the human performer in performance space was actively tracked and used to influence AIYA's sonic behavior.
(above) A view of the literal black box that was constructed for black box fading, where visual projections covered the surfaces of three walls/black curtains and floor of the Immersive Arts Space. Circled are the Optitrack motion cameras used to capture my position and movement within the space.
(above) A view of live-reactive grids used to portray both the state of energy of the improvisation machine and the (literal) architecture and space formed by the improvisation machine
(above) A snapshot of one of the recording sessions of my improvisations with the improvisation machine. Video was recorded in a 360° degree format and audio was recorded using a Zylia microphone and third-order Ambisonics.
(above) Another snapshot of one of the recording sessions of my improvisations with the improvisation machine.
(above) A snapshot of a scene within the 360° video of black box fading.
(left) A small excerpt of a scene within the 360° video of black box fading, using outlines of my body on the projection visuals as a metaphor for the improvisation machine as a figurative mirror of oneself.
(left) A small excerpt of a scene within the 360° video of black box fading, using outlines of my body on the projection visuals as a metaphor for the improvisation machine as a figurative mirror of oneself.
(above) A snapshot of the whole 360° video, which portrays the improvisation machine as an immersive, dynamic element of the performance space.
(above) A short excerpt of an improvisation with AIYA in black box fading.
full video available at: chua.ch/blackbox-22YT