AvIS

GENERATIVE AUDIOVISUAL INSTALLATION

XX INTERNATIONAL ART FAIR, VENICE
5.12 – 20.12, 2024

XII INTERNATIONAL ART FAIR, ROME
6.12 – 19.12, 2024




AvIS (Audiovisual Interactive System) is a generative audiovisual installation that deeply explores the relationship between sound, image, and time through complex algorithmic systems.
Presented at the International Art Fair in Venice and Rome, the work takes the form of an autonomous ecosystem capable of producing unrepeatable sound and visual landscapes, shaped in real time through advanced techniques of Granular Synthesis, multichannel acoustic spatialization, and audio-driven visual generation.
The primary goal of the work is to offer an immersive and synesthetic experience in which the boundaries between perception, data, and generative processes gradually dissolve.

AvIS stems from the desire to investigate the nonlinear dynamics of perception and the ways in which computational systems can amplify, modulate, and re-elaborate its internal processes.
It does not aim to represent a defined content, but to make visible and audible the behavior of a continuously evolving system, in which sound and image emerge from a single generative core and follow shared logics of transformation.

The sonic and visual components coexist as parallel manifestations of the same algorithmic structure.
Neither dominates or illustrates the other; both are integral parts of a single digital organism.
From this relationship arises a dynamic, fluid, and unpredictable audiovisual space that overcomes the traditional idea of composition as a closed and predetermined structure.

The installation is developed entirely in Max/MSP and integrates advanced granular synthesis modules, real-time sound-spatialization systems, visual engines that interpret spectral data, and controlled random functions that regulate the internal behavior of the work.
The soundscape is generated through the processing of micro-samples arranged according to variable parameters such as density, duration, overlap, timbral modulations, and autonomous stochastic processes.
The spatialization system reinforces the work’s three-dimensional dimension, creating dynamic sound trajectories and an adaptive distribution of sources in space.

The visual component arises from detailed spectral analysis of sound through FFT, the extraction of sonic features, and the visual processing of particle systems and geometric structures in continuous transformation.
The result is not a simple translation of sound into image, but a behavioral extension of it: the visual element embodies the system’s internal logics and manifests their variations in luminous form.

AvIS functions as a living system, regulated by principles of self-organization, feedback cycles, and controlled stochastic processes.
Each moment of the work is the result of nonlinear interactions among its modules, generating a perceptual flow that cannot be replicated.
The viewer’s experience unfolds over time: lingering within the installation space means witnessing the slow emergence of patterns, forms, and metamorphoses that progressively reveal the nature of the system.

The installation is designed to promote an immersive and contemplative experience.
The darkened environment, large-scale projection, and multichannel audio system create a context in which the audience can surrender to the generative flow of the work without constraints of duration or interpretation.

In conclusion, AvIS offers a reflection on real time as an aesthetic form and on the ability of computational systems to generate autonomous and complex perceptual universes.
Within the landscape of digital arts, the work represents an advanced integration of algorithms, perception, and audiovisual generation, offering an alternative perspective on the relationship between technology, sensoriality, and the creative process.