graphic sequencer and electronics, 2012
graphic sequencer and electronics, 2014
Study for a network
interactive audiovisual installation, 2015
generative audiovisual art, 2016
graphic sequencer and electronics, 2017
interactive audiovisual installation, 2017
Study for the waves
generative audiovisual installation, 2018
Study for a cosmic city
graphic sequencer and electronics, 2019
graphic sequencer and MIDI piano, 2020
electronic sounds, 2009
Study for a landscape
smartphone quartet 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
gestural controllers and electronics, 2022
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
Spherical tendency of wrist movement
gestural controllers, electronics and video, 2021
A journey into a primitive and abstract space inhabited by two subjects who move along different paths that never coincide, but influence each other. They appear or hide. They linger or run away.
This algorithmic audiovisual work produced during the COVID-19 lockdown is based on a dynamic graphic score that controls the generation of notes on a MIDI piano according to a set of probability rules. The unfolding of events is governed by uncertainty.
ZKM Center for Art and Media (Karlsruhe, 2020)
Study for a cosmic city is inspired by a utopian urban planning proposal exposed by the composer and architect Iannis Xenakis in an essay entitled La ville cosmique (1965).
In an attempt to relate computer graphics to the formalization of sound, the structures that characterize the utopian city are designed using superquadratic curves capable of describing reasonable variations in 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 the position of a cursor, also interfering with the other sound sources. Paths on the ground, on the other hand, define the meso- and macro-formal articulation of the audiovisual work as well as the virtual localization of the processed audio signals.
Tenerife Espacio de las Artes (2019)
Based on a maritime landscape, this work began 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 various 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 finding a symbol in one's memory.
Biennale d'Arte Contemporanea (Salerno, 2018)
Engi is an audiovisual work based on a sonification of stellar data relating to the northern constellations. Parameter values are graphically represented and related to observational data as well as physical characteristics of the stars: the sound duration is proportional to their distance from the Earth, the amplitude is calculated considering their apparent magnitude, while the fundamental frequency changes according to their 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 to this process, the constellations act by highlighting the bodies in their uniqueness through the 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)
The low frequency radio waves that propagate 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, these phenomena have been transposed into an audio feedback network in order to obtain 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.
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 creator. No genealogy in Fibonacci's automata rabbits. No interpreter at the piano: the logos without the pathos.
A computer generates MIDI data to control an acoustic piano following a score in which three types of events are notated: clusters, scales and random sequences. Piano sounds are processed in realtime with an ad-hoc system based on a feedback network made of eight processing units.
Gaudeamus Music Week (Utrecht, 2011)