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SCHNITT

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SYNCHROPATH |audio / video performance | DVD | 12”vinyl

SYNCHROPATH is an audio/video project which explores the emotional potential of sound and video communication systems extracted from the daily life. SYNCHROPATH develops a method of composing based on the synchronism from video and audio files. The generated instruments come from several different sound and video sources. SCHNITT selects 42 audio sources and 28 video sources from which they extract 678 audio files and 234 video files. The single files will be processed, assembled and synchronized between themselves and built up the basic structure of the performance. Live Amelie Duchow and Marco Monfardini complete the project by mixing in realtime the final composition of the performance.

The visual part of SYNCHROPATH will be presented with the projection of the video on two 16:9 screens and the realtime sound visualisation on three green phosphor monitors. Every single performance of SYNCHROPATH is programmed as a unique event caracterized by the continous updates from the live set.

The initial inspiration for the realization of the project Synchropath can be found in the impact of the disorder and chaos generated by the invasive and oppressive presence of sound and visual sources which surround our everyday lives. SCHNITT questions the status of the image, an exploration between communication systems post - television, public screens, websites, home movie’s, surveillance cameras, service monitors etc. SCHNITT activates a process of addition/subtraction which is taking position beyond from the image itself .During the interaction between sound and light the captured images reveal only in some parts their own figurative origin, the 8 tracks continue along between balance and abstraction, harmony and obsession. Each part refers to a certain type of synchronization using its single basic colour for the chromatic development of the video part. The sound of SYNCHROPATH is the result of assembling and overlapping sound work , a sort of utopian harmonic organization between communication systems. The sound of electronic origin builds up on rhythmic structures which SCHNITT defines in accordance with the external inputs.