A 25-minute A/V live performance in which SINTETICO's visuals and lighting meet Walter Magi's music in a shared system of improvisation, controlled randomness and real-time audiovisual synthesis.

The musical composition unfolds in real time through a custom-programmed controller — no grid, no fixed structure — with a randomization layer that continuously modulates virtual instruments and audio samples alongside the performer's input. The result is a piece that cannot be reproduced identically twice: textures, rhythm and detail shift with each performance, shaped equally by human intention and algorithmic behavior. The sound palette draws from physical modeling synthesis and extended sampling techniques, favoring tone-colors associated with acoustic instruments — winds, marimbas, xylophones — processed, glitched and recomposed in real time. Sonically, the work sits within an ambient framework, moving toward the pointillistic density of Lorenzo Senni and the timbral research of Giant Claw and the Orange Milk Records roster.

Visuals and lighting share the same inputs as the audio — each trigger simultaneously activates sound and image, making the two components structurally inseparable. The visual layer is not an illustration of the music but a parallel reading of the same data: an abstract translation of the same signal.

A 25-minute A/V live performance in which SINTETICO's visuals and lighting meet Walter Magi's music in a shared system of improvisation, controlled randomness and real-time audiovisual synthesis.

The musical composition unfolds in real time through a custom-programmed controller — no grid, no fixed structure — with a randomization layer that continuously modulates virtual instruments and audio samples alongside the performer's input. The result is a piece that cannot be reproduced identically twice: textures, rhythm and detail shift with each performance, shaped equally by human intention and algorithmic behavior. The sound palette draws from physical modeling synthesis and extended sampling techniques, favoring tone-colors associated with acoustic instruments — winds, marimbas, xylophones — processed, glitched and recomposed in real time. Sonically, the work sits within an ambient framework, moving toward the pointillistic density of Lorenzo Senni and the timbral research of Giant Claw and the Orange Milk Records roster.

Visuals and lighting share the same inputs as the audio — each trigger simultaneously activates sound and image, making the two components structurally inseparable. The visual layer is not an illustration of the music but a parallel reading of the same data: an abstract translation of the same signal.