Synolo Iketes: holofractal impromptu #12
The performance is based on a semiotic improvised dialogue between expressive body movements, ancient Greek spoken fragments from Aeschylus tragedy, tablas, derbak, live electronics, granular and fractal synthesizers playing webcam captured movements with the Holofractal Music & Image Transducer, a max patch developed by Eufrasio Prates.
This comprovisation intends to integrate and express many concepts from new physics, like acausality, unpredictability, holonomy and fractality by means of exploring the Danaids Greek Myth. Conceived and directed by Eufrasio Prates, with the participation of Laura Muradi, Stephane Paula, Noemia Collona, Claudia Theo, Stevan Correa, Samir Andreoli, Flávio Café (performers), Mahmoud Al Masri (derbak), Alex Sales (live electronics), Kai Kundrat (tablas), Renata Homem (virtual sceneries), Cinthia Nepomuceno (choreographer), André Luiz Gonçalves de Oliveira (soundscapes), supervised by Marcus Mota (LADI, UnB).
How was MAX used?
Most of live electronics are produced by the "Holofractal Music and Image Transducer", a max/msp/jitter system that, between many different tasks, captures live movements on webcams (using Jamoma, by Place, Lossius, Peters et alii) to be transduced into real-time synthesized or granularized sounds and processed images. This complex patch includes FM Synthesizers, like FM Surfer by John Bischoff and X-FM~, Granular synthesis and spatializer by Chris Keyes, LiveGranulator by GMU, IRCAM's FTM objects, remote controllers by Mitch Turner, Greek Modes player by V. J. Manzo.