Aftokinsi

Aftokinsi (Aftokinsi) is an up-and-coming genre of live interactive electronic music in Illuminatia that is generated automatically in real-time using the movement of the listening audience as input for the electronic processes that generate the audio. An Aftokinsi performance is unique and is practically not replicable due to the numerous variables used to produce the music. Aftokinsi is notable in that there is no traditional musician or performer involved—the audience acts as the musical composer and performer.

The invention of the Aftokinsi musical genre is credited to musician-composer Aftómato Kínisi Omofonissimo, who is said to have unwittingly stumbled upon the method and technology to make the genre possible because of an incident at the composer's workshop-residence. The genre is named in honor of Aftómato. Aftokinsi music corresponds very closely to and is inspired by Earthly house and IDM styles of electronic music. The first historical instances of Aftokinsi music in Illuminatia occurred around AI 210.

In an Aftokinsi performance, an electronic system uses complex movement detection circuitry to sense and interpret the movements of the audience members and then in real-time and with no noticeable latency will play back audio that corresponds to the audience's movements. Audience members will commonly dance, sway, foot-tap, or otherwise move to the rhythm of the music. Usually, an audience will dance in relative unison to contribute to the generation of rhythms of a dance beat. Smooth movements by audience members will create legato qualities in the music being relayed back to the audience, while abrupt movements like jumps, thrusts, fist-punches, stomps, and claps will result in the Aftokinsi performance equipment generating staccato sounds. The system will overlay harmonies based on varying characteristics of the audience, such as density, height, or brightness of the colors of the audience members' clothing. Most Aftokinsi setups are programmed to produce brighter, louder sounds for brighter, whiter colors and quieter sounds for colors closer to black. Knowing this, audiences will often coordinate attire ahead of a performance to help contribute to the amplitude and harmonic qualities of the music.

The tempo and beat will gradually change as the movement of the audience changes and evolves throughout the performance. Aftokinsi music performances will progress and divert based upon the changing mood of the listening audience. A typical performance will contain loud, fast, frenetic sections during which the audience might dance—particularly at the opening of the program; the performance will also contain calmer, soothing lounge-style sections during which the audience may be largely stationary or sitting down for a rest—often in the middle or toward the end of the performance.

Aftokinsi music is generally not thought of in terms of pieces or songs, as the performances start from a beginning and continue uninterrupted for a long period of time—often for an entire evening, and in rave circumstances—all night long. Occasional marathon-style Aftokinsi performances have lasted multiple days, with audience members cycling into and out of the performance venue through fatigue and basic human necessities. The average mainstream Aftokinsi performance will take place over a period of 25 to 35 TU.

During a long all-night Aftokinsi performance, the audience might lounge or sleep together within the venue to generate ambient music. Many insomniac music enthusiasts will pursue these all-night Aftokinsi performances as a form of sleep therapy, in a setting in which they can commiserate with fellow sleep-deprived individuals. Aftokinsi performances with lounging and sleeping sections are known to positively impact sleep health and promote healthy sleep among participants. Many times, such an Aftokinsi performance will be arranged and communicated as an extended-sleep experience, where the legato and ambient qualities will be protracted longer than the full evening, prompting audience members to remain sleeping well into the following morning.

Naturally, Aftokinsi performances rely upon audience compliance. While many Aftokinsi performances approach the goings-on as an impromptu, extemporary experience, other Aftokinsi events will suggest a general mode of conduct for audience participants and will provide expectations so that the audience will understand what to expect from their fellow interacting listeners.

Live Aftokinsi performances are sometimes broadcast on wireless music stations, and recordings of Aftokinsi music are infrequently produced, though Aftokinsi music purists will argue that this repurposing of the live experience—particularly the recorded material—defeats the purpose of the genre. Broadcasts of recorded Aftokinsi performances are provided with a disclaimer bringing the attention of the broadcast audience to the non-interactive nature of the broadcast.