graphical sequencer and electronics, 2012
graphical sequencer and electronics, 2014
Six small automata
generative audiovisual art, 2015
Study for a network
interactive audiovisual installation, 2015
generative audiovisual art, 2016
graphical sequencer and electronics, 2017
interactive audiovisual installation, 2017
Study for the waves
generative audiovisual installation, 2018
Study for a cosmic city
graphical sequencer and electronics, 2018
electronic sounds, 2009
Study for a landscape
4 smartphones and electronics, 2013
digital audio tracks, 2014
motion capture and electronics, 2014
motion capture and electronics, 2015
Study for a landscape #2
digital audio tracks, 2016
voice and digital audio tracks, 2007
piano and live electronics, 2008
string quartet and laptop ensemble, 2009
flute and live electronics, 2010
Studio per un'orbita
violin and laptop ensemble, 2010
Disklavier and live electronics, 2011
Disklavier and electronics, 2011
Per una regolarità del respiro
clarinet and live electronics, 2013
As an attempt to relate computer graphics to sound formalization, the structures characterizing the utopian city are designed using superquadratic curves which can describe reasonable variations of both amplitude and pitch. Parameter values extracted from buildings and paths are used to process sound materials from unidentified radio transmissions actually received worldwide. In the graphic representation, each building transmits a specific radio signal whose quality and intensity depend on cursor's position, also interfering with the other sound sources. Paths on the ground, instead, define the meso- and macro-formal articulation of the audiovisual work as well as the spatialization of processed audio signals.
Based on a maritime landscape, this work started with the research and collection of traces that characterize a specific context by means of field recording, photography and drawing. The materials obtained constitute a narrative substratum of the work, which emerges with different degrees of transparency according to an algorithm operating in realtime. Without claiming to define the identity of a place, the enigma is preserved through a counterpoint in which matter and appearance provide an ambiguous reference, or a principle for the finding of a symbol in one's own memory.
Biennale d'Arte Contemporanea e del Design (Salerno, 2018)
Engi is an audiovisual work based on a sonification of stellar data related to northern constellations. The parameter values are represented graphically and related to observational data as well as physical characteristics of stars: the duration is proportional to their distance from the Earth, the linear amplitude is calculated considering their apparent magnitude, while the fundamental frequency changes according to the spectral class. Six temporal dimensions are used in order to activate the stars with a combinatorial system that produces a continuous change in the articulation of events over time.
Segnali Festival (Perugia, 2017)
This work begins from the exploration of an imaginary celestial space which is translated into sound space. How does each celestial sphere – starting from its manifestation as a unit – interact with the cosmos where it belongs? How does it react to its law? How does it transform itself integrating with the system, until the loss of identity? In contrast with that process, the constellations act underlining the bodies in their uniqueness by means of creation of symbolic links: beyond their meaning, they stand as a classification and articulation device of the individual within the system.
Center for Computer Research in Music and Acoustics (Stanford, 2014)
A performer interacts with a computer through gestures of the fingers, exploring a virtual space which is projected by four speakers. The gestures allow for the generation of sound sources in the electroacoustic space. Also, they determine dynamics as well as audio spatialization. Such exploration establishes a strong connection between real body and virtual space.
Spazio neurale is based on SPAN, a sound and music processing system created in 2011 by the author himself.
Venice Experimental Cinema and Performance Art Festival (2014)
Low frequency radio waves propagating in the Earth's atmosphere assume distinct characteristics in relation to the emitting source as well as the receiving point, affected by phenomena such as reflection, refraction, diffraction and absorption. Considering the electromagnetic radiations generated by natural disturbances, the author aimed at transposing these phenomena into an audio feedback network in order to achieve imaginary results by exploring the effect of space-time parameter variation: a kaleidoscope of sounds floating in a dynamic system with ever-changing variations of the rules of the counterpoint.
Art & Science Days (Tours, 2014)
Vision II blends elements – including two graphic scores by Robert Moran and the soundscape of the city of Venice – which came together accidentally, as objects of a dream and a vision. Not the world-vision (i.e. the cosmology of positive and negative), but the counterpoint between appearance and anatomy of the image in its acoustic quality. The visual part determines the sound design aspects: it generates and controls the sound, integrating the particularity of the instant and the contingent.
56th Venice Music Biennale (2012)
Axon is pulse and transmission. Synchrony and diachrony. Dissidence and paradox. No more sonification and no more spatialization. Game and irony. The labyrinth-machine automatically produces movement that defies the will of the maker. No genealogy in Fibonacci's automata rabbits. No interpreter at the piano: the logos without the pathos.
A computer generates MIDI data to control a player piano by following a score in which three types of events are notated: clusters, scales and random sequences. Piano sounds are then processed in realtime with an ad-hoc system which is based on a feedback network made of eight processing units.
Gaudeamus Music Week (Utrecht, 2011)