Negentropy: The Last Man in the Wasteland By Hugo Paquete

‘An electronic E-Opera in 5 arias that explores the place and circumstance of existence in a last gasp, the end of a man in an austere electronic desert like a post-apocalyptic cloud, where existence collapses into madness and asphyxiation’ (Paquete, 2022)

NEGENTROPY is a post-digital electronic E-opera with a post-apocalyptic cyberpunk science fiction aesthetic. It is a performance that defines itself as an opera of electronic music, percussion, and interaction, structured in 4 acts based on the libretto, artistic direction, and authorship of Hugo Paquete, paying homage to the final works of composer Jani Christou. This E-opera reinterprets, expands, and draws inspiration from the compositions Anaparastasis I: The Baritone (1968) and Anaparastasis III: The Pianist (1968) as its expressive core, while incorporating a set of new compositions and improvisations that extend their qualities.

The Porto Planetarium’s dome serves as the specific site and setting, featuring 3D video content created by Julius Horsthuis, spatialized sound for an eight-channel audio system surrounding the audience, interactive systems for voice and instruments, and a light scenography with hologram curtains in the stage version. Baritone Rui Baeta, “the last man,” performs Anaparastasis I: The Baritone, embodying the character with interactive elements on stage, accompanied by Hugo Paquete’s live post-techno electronic and percussion interventions.

The performance also includes guest artists such as violinist Pedro Carvalho, Ianina Khmelik, and sound artist and organist Cláudio de Pina, who contribute to the experimental electronic music. They alternate in different live presentations of the show. Actors Bruno Sousa, Amanda Duda, Alex Alvão, Delrik Borba, Flora Gouveia, Rita Rocha, Rodrigo Guimarães, and Rúben Moreira appear as human echoes in the landscape, memories of a fading humanity caught in a limbo between the past and the future.

Artistic Direction, Conception, Musical Direction, Composition, Performance and Dramaturgy: Hugo Paquete

Musical Reinterpretation: Jani Christou: Anaparastasis I: The Baritone (1968) and Anaparastasis III: The Pianist (1968) 

Acting, Singing and Performance: Rui Baeta

Acting and Performance Violinsta:  Pedro Carvalho 

Acting and Performance Violinsta: Ianina Khmelik 

Acting and Performance Organist: Cláudio de Pina

Acting and Performance: Bruno Sousa, Amanda Duda, Alex Alvão, Delrik Borba, Flora Gouveia, Rita Rocha, Rodrigo Guimarães, R. Gritto and Letícia Arlandis.

Costumes, props, scenery and lighting: Absonus Lab Team

3d Content and Animations: Julius Horsthuis

Hardware Design: Christopher Zlaket

Software Design: David Stingley

Make-up and Hair: Kateryna Kornilova

Sound and Light Operation: Absonus Lab Team

Digital Content and Capture: Luna Castro, Hugo Vale, Raquel Barrocas Leite

Production Assistant: Erica Frota

Financial Management: Susana Nobre

Production: Absonus Lab

The characters are immersed in a mobile and interactive set, exploring a fusion of lighting, CO2 sensors, holography and real-time interactions on stage. Using interactive audio systems that react to the CO2 levels in the room, each performance is a dynamic and unique experience.

The Last Man thinks like a delirium of the last days, revelation in its last breath, extravagant forms of survival in a radical and arid land of collapsed wastes, once symbols of technological monumentality, power and progress. Erased in the erosion of this last man's contemporary time, like cosmic dust where his desire for survival persists. 

The aim is to start from the cathartic ritual of voice and scene, where myth, the transcendent, the primordial and ritual mould panic and hysteria as operative concepts in the face of the apocalyptic. Concepts such as radical ecology, astronomy, science, mysticism and death, imaginary and mysterious traditions are addressed in order to unravel the limits of the self in the face of the abyss. A site-specific opera that expands disciplinary intersections.  

The dramaturgy of this E-opera is meticulously crafted, remixing phrases with the aid of artificial intelligence and human decision-making. This experimental approach allows for a reinterpretation of literary references, dynamically incorporating them into the narrative to explore new meanings within a system of combination, where origins are reshaped. Inspired by post-structuralist ideas, the mesh-up narrative methodology fosters a creative fusion of diverse cultural influences, resulting in a unique remix that challenges conventional notions of authorship. It proposes a system where human intelligence and algorithmic artificial systems engage in dialogue, stimulating reflection and creation within a framework that bridges the natural and the artificial.

The dramaturgy is built on the deconstruction and remixing of the following texts:

• Demers, Joanna. Drone and Apocalypse: An Exhibit Catalog for the End of the World, 2014.
• Dery, Mark. Out of Control, 1995.
• Eliot, T.S. The Hollow Man, 1925.
• Fisher, Mark. The Weird and the Eerie, 2017.
• Fox, Dominic. Cold World: The Aesthetics of Dejection and the Politics of Militant Dysphoria, 2009.
• Goodman, Steve. Sonic Warfare: Sound, Affect, and the Ecology of Fear (Technologies of Lived Abstraction), 2009.
• Grossman, Elizabeth. High Tech Trash: Digital Devices, Hidden Toxics, and Human Health, 2006.
• Negarestani, Reza. Cyclonopedia, 2008.
• Parikka, Jussi. The Geology of Media, 2015.
• Shelley, Mary. The Last Man, 1826.

The choice to combine scientific texts, poetry, and novels aims to create a dialogue that expands human imagination, exploring a broader field of meanings and addressing the complex narrative of humanity as a cultural construct composed of diverse voices. This approach integrates science, art, and expression into a complex interplay of cultural articulations, enriching the experience and enabling a deeper, more holistic understanding.

Opera, Post-apocalyptic, Dystopia, Survival, Post-digital, Catharsis   

Absonus Lab

IGAC registration:  2066/2024. Copyright protected.  

Prepare to be captivated by the enigmatic and ethereal soundscape of "Dark Energy Synthesis," an album that pushes the boundaries of acousmatic music, experimental compositions, and the realms of dub, drone, powernoise  and electronics. In this review, we delve into the mesmerizing sonic realm of "Dark Energy Synthesis," where the cosmic meets the earthly, and the abstract intertwines with the familiar. Embark on a transcendental voyage as the album unfolds, enveloping your senses in a tapestry of otherworldly tones, pulsating noise rhythms, and intricate layers of sound in a post-minimal, post-techno, and post-digital aesthetic. 

"Dark Energy Synthesis" harnesses the power of sonic alchemy, fusing elements of dub, noise and electronic to create an immersive experience like no other. The album takes listeners on a sonic acousmatic rollercoaster ride, where dub-infused basslines meld with intricate glitch beats and atmospheric micro and macro noise soundscapes. The result is an intoxicating blend of head-nodding rhythms and mind-expanding textures that will leave you craving more. 

"Dark Energy Synthesis" is an album that challenges, captivates, and awakens the senses. It transcends conventional musical boundaries, offering a unique blend of dub, noise and electronica within the realm of acousmatic music. Embark on this auditory journey, embrace the enigmatic allure, and immerse yourself in a sonic universe where creativity knows no bounds. Surrender to the power of "Dark Energy Synthesis" and experience a transformative musical exploration. 

Composer by Da Mata Paquete aka Hugo Paquete in the Absonus Lab a space for sonic experimentation that provides the conditions to foster music creativity and further development in multidisciplinary advances in art, science and technology.
Released July 24, 2023.

Pulsar is a multichannel composition for  20.4 audio channels that investigates extraterrestrial  sound and rhythmic noise radiation as a landscape of vast dynamic audio  shapes found across the universe.  Short bursts of granular dust and sequential emission are used to transition from chaos to regular music periodicity.  Presented at Ars Eletronica Festival, Linz, Austria. 2022.

This composition proposes a micro and macro sonic study of the concept  of pulsars, which can only be seen in regions of the electromagnetic  spectrum that are as obscure as powerful unknowns. This piece is a  follow-up to the composition developed for Chris Ziegler’s multimedia  dance performance Cosmos (2018), which was commissioned, partly  developed, and performed at the ZKM Center for Art and Media Karlsruhe.  It integrates elements that generate sound and music by utilizing commercial and military satellites, which is established through a  process of acquiring and converting real-time sonification of satellite  movement data and merging it with midi-data language. It is used to  operate musical instruments, both hardware and software. Its  significance highlights the satellites’ autonomy as objectionable  performers, reactants that make sonic material in an ecosystem of random  movements and preset computational music laws. Where science and  imagination collide in the realms of auditory perception. Hugo Paquete receives a grant from the European I-Portunus Project grant in (2019) to develop a real time satellite tracking system applied for music composition, as a resident artist at ZKM /Zentrum für Kunst und Medientechnologie, Karlsruhe in the Hertz-Lab. The project was developed in collaboration with Christopher Zlaket, specializes in interface design, and David Stingley, specializes in computer science.

Hugo Paquete (PT)
Duração: 12:48

Ano: 2022

 In accordance with the festival theme There Is No Planet B, the Ars  Electronica digital music focus at Anton Bruckner Private University  will lend its ears to immersive sonic creation as an artistic field of  research sonically reflecting our world. Convinced, or at least hopeful,  that multichannel speaker environments are capable of more than simply  providing virtual substitute surroundings to distract us from everyday  life, we want to explore the roles multichannel audio can play in  reflecting and furthering our understanding of our social, physical, and  biological environment. We aim to bring together artists and researchers working in the field of  multichannel audio to exchange ideas on how immersive audio can help  people to understand, to hear more and to activate dissent rather than  simply enabling ever more intricate aural pleasures, to be sold or  rented out as “experiences.” 

Absonus Lab

Sonification: Unlocking the Genetic Soundscapes

The process of sonification enabled the conversion of the SARS-CoV-2 RNA into musical elements. Through the translation of genetic information into MIDI values and notes, the album brings to life the intricate patterns and characteristics of the virus on a musical canvas. The resulting compositions offer a unique auditory representation of the virus's genetic material, unveiling a new realm of artistic expression.

Polyrhythmic Percussion and Dynamic Attacks

Employing polyrhythmic percussion rhythms derived from the repetition of RNA sequences, the album embraces the inherent complexities of the genetic material. The meticulously crafted rhythms feature dynamic attacks that infuse the music with a sense of energy and intensity. This fusion of rhythmic elements creates a captivating sonic landscape, evoking both minimalistic and maximalistic soundscapes.

Post-Digital Exploration: A Fusion of Aesthetics

The composer takes a post-digital approach, blending avant-garde, post-industrial, and post-techno aesthetic components. This experimental fusion forms the foundation of the acousmatic music research, allowing for the exploration of new sonic territories. By pushing the boundaries of art, music, technology, and aesthetics, the album reflects the interplay between human creativity and the natural world.

Science and Imagination: Unleashing the Potential

This composition serves as a testament to the potential of science as a wellspring of inspiration for artistic endeavors. By employing the biological potentiality within music composition, the album unlocks new realms of sonic possibilities. It invites listeners to embark on a captivating sonic journey, guided by the ever-expanding frontiers of scientific knowledge.

A Captivating Performance and Installation

This work was showcased as part of a performance, lighting, and sound installation during the Festival Novas Invasões in Torres Vedras, Portugal, in 2021. The immersive experience transported the audience into the textured audio universe created by the sonification of the SARS-CoV-2 genomic material. The production was made possible by the collaboration of EMERGE A.C., with the support of Torres Vedras Municipality, Festival Novas Invasões, and Direção Geral das Artes.

Credits and Acknowledgments

The album "Da Mata Paquete aka Hugo Paquete" was released on July 20, 2022. Special thanks are extended to Absonus Lab, a space dedicated to sonic experimentation and the advancement of multidisciplinary art, science, and technology. Their support and dedication provided the ideal environment for nurturing musical creativity and innovation.              

This album is the culmination of groundbreaking studies that utilized sonification techniques to transform the genetic genomic material of the SARS-CoV-2 virus into MIDI values, notes, and control commands for software and hardware. By combining specially crafted virtual instruments with electronically generated audio content, a fascinating and innovative sonic experience was created. The captivating journey of exploring the boundaries of sound and perception. 

 IGAC/ Work registration no.º 2810/2021. Copyright protected