Type : immersive Av performance
Length : 30′
Features : ambisonics (up to 31 channels), real time, light scenography
Commission: Granted by Institut Français and Presented as part of an exchange program between France and Quebec Council of Arts and Letters of Quebec (CALQ) and the French Institute. Completion of this residence is made possible through the collaboration of the French Institute, the Gaîté Lyrique, Cube, Society for Arts and Technology and OBORO.
Concept and direction : Fraction
Programing : Fraction, Guillaume Jacquemin
Scenography : Louis Philippe St Arnault
Entropia is an innovating audiovisual performance where Fraction looks into entropy as an holistic process. Starting from the geodesic design theory of Richard Buckminster Fuller, He will pay a tribute to the architect and designer’s ideas.
The dome represents the architectural and immersive space the best suited for the work’s objective, as well as an ideal sound concept for setting up an ambisonic model. It offers also an opportunity to think over a different notion of a concert, a different relation between audience and the composer/performer, in a process where immersion becomes a global precept.
In thermodynamics, while the first principle is a principle of conservation of energy, the second principle is the principle of evolution. It states that any real transformation occurs with inevitable increase in global disorder; disorder measured by entropy. Therefore it is said that there is production of entropy. For Richard B. Fuller, the geodesic dome was an answer to his questions concerning our duty to implement sustainable development in a finite world tending toward chaos. Using the dome as a symbol, the artist proposes an allegoric non-conventional answer by using the notion of sound disorder and by giving the audience the opportunity to take up these questions through a multi-modal experiment.
Entropia is primarily a multi-channel electronic music performance in which the composer uses spatialization, movement and real time effects applied throughout the entire sound field. At the core of the piece, a max patch (ircam spat) operates as a transitional gateway for all audio signals. Ambisonics of order 4 are reached using the distribution of 8 to 16 sound sources/voices in 31 channels. This renders a dense sound plasma, which the artist can freeze, and spatial contrasts that defies the dome’s physical limits.
The sound part of the work is based on four interrelated fundamentals:
1- ambisonics 3D, using the Spat for orchestrating the distribution of sound material
2- architectural conceptualization, through the use of Iannix, for the design of spatial movements
3- abstract musical writing, playing on atonal synthesis and organic textures
4. Real-time control during the concert’s spatialization, treatments and mix through tactile surfaces (Ipads)
Aesthetic of disorder
The aesthetics of chaos are the main concern of Entropia. The composer immerses the audience in an intense experience through sound volumes, spatialization and real-time processing. Entropia’s sonic world is based on inharmonic layers and abstract textures, mostly synthetic, composed of harsh dense group that can eventually breakthrough in climactic parts of this work. Spatial movements accompany the entanglement of the highly processed electronic timbres in a complex sonic ballet before dissolving in spectral bursts. In other words, the work could be described as the result of the fusion of studio composition, real-time spatialization (spat) and effect processing applied in the 3D sound domain.