Presented with a Live Score by Flautist + Modular artist Miya

Voted one of the ten best films ever made in the Sight & Sound 2012 poll, and the best documentary ever in a subsequent poll in 2014, Man With A Movie Camera (Chelovek s kinoapparatom) stands as one of cinema’s most essential documents – a dazzling exploration of the possibilities of image-making as related to the everyday world around us.

The culmination of a decade of experiments to render “the chaos of visual phenomena filling the universe”, Dziga Vertov’s masterwork uses a staggering array of cinematic devices to capture the city at work and at play, as well as the machines that power it.
 

ABOUT MIYA:
Miya is an augmented flute player who fuses acoustic instruments (flute, nōkan, ryūteki) with electronic music, creating an innovative musical world that bridges classical and contemporary traditions. With her  “modular flute”, she controls modular synthesisers through her breath, using the unique qualities of both Eastern and Western flutes to produce sacred sonic spaces where audience and environment interact.

Her work has been highly acclaimed on stages both in Japan and abroad, with performances in live houses and art venues in London, Berlin, India, and Malaysia. In Japan, she has performed not only in live houses but also at major art events, including the Setouchi Triennale, BankART, and DOMMUNE. She has also contributed to commercial music and public events, emphasising interaction with space and audience in her multifaceted performances.

She is also an active recording artist, with releases including the jazz album Miya’s Book (2007), produced by Yosuke Yamashita, the live improvised conduction album Benedict/Miya＋7 Maestros (2018), and the modular flute–focused album Namkang (2025).

Since 2019, Miya has fully integrated electronic approaches into her practice, establishing a performance style in which her breath controls modular synthesisers. In 2024, inspired by her collaboration with the Switzerland-based extended flute performer MELO, she co-founded the Improvisers Machine Orchestra with Kōta Arai, incorporating interactive electronic elements into orchestral improvisation with conduction, and exploring sustainable methods of musical and artistic expression.

Going forward, Miya continues to explore the liminal spaces at the boundaries of things and worlds, creating sacred sonic environments through the breath of life and the augmentation of informational embodiment. Utilising both Eastern and Western flutes and electronic augmentation, she aims to keep transcending the boundaries of classical and contemporary, East and West, and to craft new musical realms.