As intended we set up the equipment inside the performance space, monitoring the Kafka performance with videocamera, stereo microphone, 6 sensors (light, humidity, temperature, 3 combustible gasses). During the actual performance of the play, these data would "drive" a dynamical sound buffer in which gaps and silences between speech and movement were sampled. This in order to eliminate all action from the verbal interactions within the play. The sound synthesis consisted of a combination of ACSS (additive concatenative sample synthesis) and granular synthesis. This realtime synthesis was rendered over 2 speakers in the cloakroom outside the performance space. A similar monitoring and synthesis system was installed for this room, recording data and media of this "vestiaire" which they kept calling "foyer". And so a second rendering was heard over an additional 2 speaker set, installed on top of the staircase, 1/2 floor higher.
There were 3 projections: the first one showed the performance inside, but deprived of any action. The second projection showed the data from inside rendered constantly in colourful dots and lines into a matrix. The final performance was the similar rendering but from the data in the vestiaire/foyer. Meantime a dancer/performer marked with duct tape the dynamical patterns on the floor. There was a separate audience for this interpretation.
This is a recording of the last interpretation in the cafe upstairs after the play, in which the Quartet Oslepeni Koncem is listening to the computer generated synthesis live performed during the play. In this soundfile you can hear audience, the quartet, synthesis.