Résumé

This article examines Negentropy: The Last Man in the Wasteland by Hugo Paquete as a case study, an electronic opera that redefines the genre by integrating generative composition, meta-music, and environmental interactivity into an adaptive, multisensory system. The work utilizes CO₂ sensor data as a creative input, transforming environmental fluctuations into dynamic soundscapes through realtime sonification and advanced signal processing. By incorporating AI-driven generative music, improvisation, and open compositional systems, the opera delves into themes of techno-existentialism and human agency within a post-apocalyptic narrative. Positioning electronic opera within the broader context of digital and multimedia performance, this research highlights the intersection of technology, interactivity, and artistic expression. Employing Research through Art (RtTA) and Research through Design (RtD) methodologies, the project explores human-AI collaboration in libretto creation and sound generation, pushing the boundaries of meta-music and real-time computational systems. Future developments aim to expand environmental data inputs—such as temperature, humidity, and light metrics—to enhance system responsiveness and introduce interactive performer interfaces, including gesture-controlled systems and wearable devices. The opera’s adaptive framework fosters immersive audience engagement through multimodal experiences that combine sound, visual elements, and spatial interaction. AI-driven signal processing enables the system to evolve dynamically, contributing to advancements in sound design, music composition, and post-techno aesthetics in opera. Situated at the intersection of art, science, and technology, this study underscores the transformative potential of electronic opera as a hybrid artistic and research-driven practice, expanding its theoretical and practical dimensions.