I see each of my improvisations as a snapshot of the state in the development of my acoustical/technical/creative research. The style, technologies, and expressive intentions have significantly changed over the years but the use of the acoustic piano has remained as a constant. Even when I improvise only electronics and/or visuals, I treat the material with similar strategies where the notion of “structure” –sometimes recognizable, sometimes suggested- is of extreme importance.
Another element that is important in my work –therefore in today’s improvisation- is the expressive potential of the musical human computer interaction. This interest has lead me to create digital partners not trying to replace live musicians nor trying only to sonically augment the instrument, but searching for compositional paradigms where machines could emphasize the human expression. For this performance, I wear a jacket developed by Maxel Keene that senses my movements and adds another layer of analysis to the digital component.