Farzané questions the relationship between humans and machines, bringing human and machine intelligence together in a mutual learning space. Her speculative approach goes beyond technological determinism and cultural essentialism, offering the liberation of open tension. “Live Human-Computer Improvisation” is a live electroacoustic performance exploring mutual destabilisation between human movement and artificial intelligence through embodied knowledge and acoustemology (a sonic way of knowing and being in the world). At the BLAUES RAUSCHEN Festival, the performance unfolds in successive phases of listening and response. Movement sensors capture gestural data as material for an embodied dialogue between human corporeal intelligence and machine-based acoustic learning. The AI develops its own acoustemology – learning through sound – while the performer’s embodied knowledge evolves through acoustic feedback, producing a process of mutual sonic becoming. As Farzané stated in an interview with SHAPE: “I don’t fear AI replacing artists. I fear artists forgetting what makes them irreplaceable: their capacity for presential knowledge, for immediate experience rather than mediated representation.”

Farzané – a.k.a. Farzaneh Nouri – is an Iranian musician, researcher, and sound artist based in the Netherlands. While studying film at the Art University of Tehran, she encountered early electronic music pioneers, which redirected her practice toward sound. Her work engages experimental approaches to music, science, and technology, drawing on electroacoustic composition, computer science, and linguistics. Using creative coding, field recording, live electronics, and acoustic and programmable instruments, she creates performances, installations, films and immersive environments. While critical of cultural homogenisation and a globalised AI monoculture, she approaches AI as a reflective tool – one that foregrounds what remains irreducibly human, embodied and present in artistic creation.