The Latin noun “Omnibus” (bus) means “for all”. Or something that allows several things simultaneously, or that contains or includes several items. A bus that will make sounds according to its geographic displacement – a sound range and sound layers that can, or not, be put into action simultaneously.
“Omnibusonia Paulista” is focused on a system acquires the sound data sent by the GPS via USB on NMEA-0183 format and converts and processes in software Processing triggering the audio tracks in accordance with the position of coach for the vector coordinates of pre-established .
The sonic bus will travel by Avenida Paulista containing a continuous sound basis, which speaks to the inserts of architectural route. These inserts are houses, residential buildings, and possible buildings that exist. At these points the inserts noise include intangible memory therein. People, artists and celebrities who lived, who live or will live there. There will be eleven points on each side of the Avenue, totaling twenty two points in total.
The work aims to be a work in continuous play, a perpetual motion machine. Each trip will be a new version of the work, the work will never be equal because there will be random musical variations for each one of the pre-determined points. The bus will depart the beginning of the Avenue, in the Praça Oswaldo Cruz then we will have the following points (even side):
Hospital Santa Catarina, Residência Manuel de Azevedo Marques, Boate Oba-Oba, Edificio Nações Unidas, TV Gazeta/Residência Van Bullow/Ed. Paulicéia, Residência Francisco Matarazzo, Villa Virginia Matarazzo/Banco Real, Edifício Dumont Adams (abandoned)/MASP, Edifício Grande Avenida, Colégio, Capela e Escola de Cinema São Luiz. (Odd Side): Casa das Rosas, Colégio Rodrigues Alves, Edificio Copersucar, Instituto Pasteur/Olliveti/former consulated of Japan, Club Homs/Maison Dener/ Edifício e Casarão Numa de Oliveira/Radio Jovem Pan, Citibank, FIESP/ residência Nagib Salem, Trianon, Baronesa de Arari, and Conjunto Nacional.
Vanderlei Lucentini works with electronic music since the early 80s. Because of its multimedia approach, his works were disseminated through concerts in Brazil, installations, drama plays, choreographies, films, poetry, multimedia concerts, soundtracks and performance art. He was the curator of classical electronic music festival Hipersônica 2005 and was also the curator of the month of September 2005 the project of Musical Intervals CCBB-SP. In the United States, he attended the concerts promoted by SEAMUS, Electroacoustic Music Concert with composers from Dartmouth College and the University of Montreal and university concerts of electronic music. In addition to his solo work, he has worked in partnership with representative artists of the contemporary.