As mentioned, I have received a few responses from those who attended the two presentations:

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Great to see the elements come together when you perform. It is precisely the contrast between the natural sounds and the technological nature of the machines that I find interesting in your work, and I found that strongly reflected in your performance.

Ruth de Vos (of Witte Rook) re: Breda presentation

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The performance in Witte Rook Breda was intriguing, I enjoyed it a lot. As a colleague I can see how much energy you have put in the research, in the building of all parts, and in the compositions/improvisations: chapeau!

You use a sound palette which is not directly my favorite, but the subtle way you move the microphones changes these minimalistic sounds into music. And the way you work with low frequency energy as a source to operate your electric motors was totally new to me. I am sure that it even will become more music when you are more free to use 'accidents' in your improvisations. So I would suggest: Play as long as possible, so you get bored, and you want to hear something else. At that particular moment, when it is not exciting anymore, new things pop up...

Another way to broaden your palette could be to ask others, friends, sound artists, musicians and amateurs, to improvise with your stuff. They have different characters and will use the 'instruments' in a different way. You will learn a lot!

I wished Amsterdam was closer to Marseille. I do hope to meet you in the future.

Hans van Koolwijk re Breda presentation

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I really enjoyed your performance at Witte Rook. Your use of these components and linking them to your compositions produced an experience I had not encountered yet so thank you for that! Placing little machines across the room as well, apart from your main desk, worked great for me acoustically. The room came to life somehow as if these little beings were hard at work in corners and cracks building nests or something ; you’d have to go look for them.

There was a nice balance between the kinetics and amplified sounds, on some occasions in build ups you could have pushed the system more for me :) 

Then again, it’s a small space and an intimate setting, so perhaps this can be too overwhelming. Still, I would like to experience this contrast in volume on a larger system someday. It was nice to sit up close and catching glimpses of how you are working the setup. The cork ( was it a cork ? ) in the little mill worked great!

Your set was balanced and also visually worked like a charm. I get the remarks of others that perhaps you could enlarge the visual aspect by placing cameras up close and use these as visual feedback for the public. On a larger stage, where the distance to the visitor is greater, this might work very well. For me, the mystery works great and I didn’t feel the need to see your movements as much as possible up close. It just…worked and I enjoyed the music. Perhaps visuals of your field recordings that drive your system would work too!

Julian Edwardes re: Breda presentation

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The performance felt like opening little boxes of surprises for me. As they were fragile and precarious, even as audience there were some times that I held my breath. Even though it was a series of different elements, it concluded as a whole, as a complete set of music.

Soyun Park re: Den Haag presentation

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Your work and in-depth work ethic amazed me.

Note about the performance: be aware of the overall musical line you make. I had a few times the idea that the performance was at (its) end, but then you "started" again.

Vera Hofman re: Breda presentation

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I enjoyed your set a lot. With your setup there is a risk of it becoming a gimmick, showing off all the different devices for the sake of it. But you stayed far from that: it was a very musical piece that I would have enjoyed with my eyes closed, or even without knowing the sound producing devices. That said, for a live set, of course seeing what is going on greatly enhances the performances. Normally we would have put your table up in the middle of the room, and have people stand closely around it. It's a shame that that was not possible due to the regulations. With such a technical setup, people like to understand what is going on. I think it will enhance the experience/immersement of the audience if you could explain your setup before your set, so people can relate to it more. Of course you could argue that it takes away the magic / the surprise element so just see what you do with that -- it's a personal desire that I have more often with technical setups like yours.

Arvind Ganga re: Den Haag presentation

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What i remember from that night is that you didn't put any heavy amplification on the objects as is often done in these kind of sound art performances, or at least what I've experienced. I think by keeping it subtle you kept the focus and time span attention of the audience for a long time!

My friends and I have a internal joke to not peak too soon on a party night but save energy so you can hold on longer for the party... I'm not sure if it makes sense but that's what i felt for the energy also during your performance.

Farah Rahman re: Den Haag presentation

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I enjoy a lot the subtle sounds you created in the performance as well as the nice balance of all the different quality of sounds! 

Lam Lai re: Den Haag presentation

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And here's a transcription in note form of the conversation I had with Kang Ji Youn: