Audio capture from a full-body improvisation (comprovisation) with the FluxNOISations interactive system, which continuously tracks the flex of right and left wrists, the relative position of shoulders, distance between hands, between feet, between elbows, and xyz coordinates of the torso in the room.  These data streams steer looping rtcmix~ objects (score scripts) by providing input parameters which control the sound. No sampled sounds were used.  All the sounds are generated through physical models implemented in rtcmix.

When improvising with the system, I often explore by trying to attain sounds that are "in between" two or more sounds I've just made, thus striving for increasingly finer grained nuances, while listening and responding to what emerges sonically and visually. This process of improvising with Fluxations and FluxNoisations is discussed in "Improvising Synesthesia" in Leonardo Electronic Almanac v.19/2, 2013. (link below)

program note:
http://enoughrecords.scene.org/100_years_of_noise/xtra/joshua.txt
interview:
http://www.joshuabanksmailman.com/compositions/modern_compositions/JMailman_noise_interview.txt
article:
https://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf

Murmurs Of The Moist: 'moist' = hybrid of human (wet) and machine (dry) (2012)

Joshua Banks Mailman is a theorist, analyst, critic, philosopher, performer, technologist, and composer of music, teaching at Columbia University, and previously at NYU, UCSB, U of Alabama, and U of Maryland. A graduate of University of Chicago (AB) and Eastman School of Music (PhD), he researches musical form from flux, temporal dynamic form and is published in Perspectives of New Music, Music Theory Spectrum, TEMPO, Music Analysis, Sonic Studies, Leonardo Electronic Almanac, and others journals and books. He is co-chair of the Analysis of Post-1945 Music interest group of the Society for Music Theory. 
	He developed interactive technologies presented at the 9th Sound and Music Computing Conference (Copenhagen 2012) and International Conference on Music Perception and Cognition (ICMPC) and European Society for the Cognitive Sciences of Music (ESCOM) (Thesseloniki, Greece). www.joshuabanksmailman.com and http://soundcloud.com/joshua-banks-mailman