WORK
ORA IN MOSTRA
Locum materiae sanam / Acustemologia dell’Etna, 2024
In esposizione presso:
Sonic landscapes, just as the visual ones, do not only exist as external entities surrounding the human activity, these are Instead perceived and interpreted by any human being, who use such to define his position In the world. Acustemology, conjunction of the words “acustics” and “epistemology”, it’s a theory used to investigate simultaneously the place of the sound, and the sound of the place, considering sound as a tool for knowledge.
Locum materiae sanam is a sound work which uses such philosophy to investigate the spaces and elements of Etna’s landscapes. The work is 3:00 minutes long and produced using immersive 3D audio technology, with the objective of projecting the listener in a journey towards the climax of the volcanic eruption, into what is a narration across reality and metaphysics of such volcano.
Music For Urban Garden [MXUG],
2018
In esposizione presso:
MXUG consists in an artistic research that, via analog and digital technology, allows natural elements (atmospheric events, plants, soil) to interact in such way that it becomes coauthor of the music itself. Hence, the final music composition reflects a co- working experience between man and nature, connected via artificial intelligence and resulting in unpredictable and unrepeatable outcomes.
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The idea behind MXUG is to apply non conventional methods in music production, where music is in symbiosis with the environment, aiming to explore new sounds and creative interaction, made accessible today thanks to the digitalisation of the audio field.
For its creation, beside the creative input of the artist, a data stream from the outside is also included. This is delivered via a whether station developed with Arduino, which once positioned in the environment, allows to bring it as a protagonist of the music creation process.
The installation does not use any pre recorded material, but generates its sounds live, inside the environment where is positioned. So that it is possible to gain access to a variety of potential modulations, resulting in musical structure quiet different from the most canonic applied in music production.
MOSTRE PRECEDENTI
Auralità Agatina, 2022
In esposizione presso:
Il suono come dispositivo per rappresentare la realtà umana e immateriale che infonde la città di Catania durante le festività di sant’Agata. Un viaggio sonoro che mira a trasmettere la passione, umanità e ritualità generate in questo particolare momento dell’anno. Nella composizione è anche presente la volontà di trasmettere una necessità, e desiderio, di ritornare a questi festeggiamenti da parte della città.
Mutazioni Sonore,
2022
Presso:
Mutazioni Sonore rappresenta un viaggio digitale, tra le frequenze udibili, basato su uno degli spartiti realizzati da Dino Mazzoleni. Tale approccio non è incentrato su note e ritmi, ma utilizza lo spartito per ricreare un processo entropico, considerando cosi il suono come un elemento fisico e chimico, che subisce le variazione degli eventi modificandone il proprio stato.
Allo spartito viene quindi conferita una nuova interpretazione che ne estrapola 3 parametri guida: colore, funzioni numeriche e vettoriali.
Al colore viene associata la genesi di un innesto sonoro non in maniera sinestetica, ma come traduzione della “forza” di uno specifico colore nel contenuto di frequenze, e la loro rumorosità.
I suoni sono poi soggetti alle variazioni del tempo e dei parametri in maniera quasi fisica, finendo per degradarsi secondo entropia. Il tutto è riprodotto in un ambiente tridimensionale per cui la distribuzione di tali suoni all’interno di questo panorama è controllata dai valori vettoriali che ne dettano direzione e verso. Nell’opera, il flusso sonoro scorre e si modifica rimodulando gli equilibri al proprio interno per trovare nuovi stati d’esistenza.
Mutazioni Sonore A/V
Binaural Mix (CUFFIE)
Spartito e video a cura di Dino Mazzoleni
The Audible Island,
2021
Presso:
@ Galleria d’Arte Moderna Le Ciminiere,
Catania
An immersive audiovisual installation, where traditional models of philosophical abstraction, usually based on words, or images, are injected with sound-based models, to challenge the traditional interpretation around the metaphysics of presence.
This creative project is developed in conjunction with photographer Michael Christopher Brown, who will travel around Sicily to give his portrait of such territory. Hence, the two artists, and their relative form of art (Photography and Sound), will travel together around the Sicilian island for seven days to experience the same spaces and places, focusing on the two different senses. Such efforts will then culminate in an audiovisual exposition that favourably opposes sound and sonic phenomena to an occularcentric description of the same places and events.
The intention of such approach is to further investigate the influence sound can have in our imagery of space when develop in conjunction with photography rather then For it.
Preghiera alla Committenza,
2020
Preghiera alla Commitenza (2020), a theoretical text reflecting on the dramatic and often unheard tensions experienced by the artist, often on the margins and condemned to the impossibility of interlocutors. The word, experiencing the limitation of "what it would like to say but cannot and perhaps never will be able to say," is deliberately exhausted, in the replacement of certain
letters with modulated sounds. More than "understanding" remains the whiff, almost the aroma, of a thought experiencing its own impossibility.
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In collaboration with artist Christian Manuel Zanon
Imagotonus,
2020
Digital data languages are a core element in contemporary content creation and distribution, where each medium is defined by its own different formats to store and deliver its informations. Such peculiarities of digital media have opened the door to many new hypermedia experimentations.
Imagotonus is an application based on conversion of digital video data into the sonic domain for the purpose of hypermedia composition.
Its final aim is to enhance the overall perception of the space presented by the visual images, via digital metamorphosis into the element of sound; for development of a conceptual soundscape, and for this instance, auditioning the abyss as a submerged digital world.
RHIZOSTOMA
SERPULA
Immersive Sound-Card / Amsterdam Modular Bells,
2019
In Amsterdam modular bells the city of Amsterdam is explored during four days of field recording trip, made in November 2019.
The piece presented is part of the collection called Immersive sound-cards, made for eight-channel or bin- aural reproduction. The collection is developed as a series of short compositions aiming to experiment with the auditory environments of selected destinations, through a personal journey into its ecology, and territory of sounds; and, as it would be for any classic postcard, includes its sender inscription.
This is crafted by editing soundscape snapshots and blend them together in a storytelling of the author aural experience. The resulting work is enhanced by a chosen harmonic/tonal instrument, different for each location, attempting to expand the depth of the soundscapes within a fourth dimension.
Sonic Landscapes -
Phill Stern,
2018
Presso:
@ Museo dello sbarco,
Le Ciminiere,
Catania
This project aims to convey auditory perception evoked by 3 selected pictures made by photographer Phill Stern during the II world war. The idea behind the piece is to add a further layer to identify what is happening inside each of the pictures, by meticulously depicting their sonic realism. This is done using a mixed approach of recorded and processed spatial audio, edited and mixed for binaural output. This particular method for processing audio allows much grater immersion when compared to the most common stereo format. Hence this piece is intended to be auditioned via headphones.
