What is the meaning of human presence in live electronics performance, the political, social and ritual role that it assumes in the collective imagination?
In a game of light and shadow I decided to enhance the distance between the sound and my body, produced by the electroacoustic medium, to offer points of reflection built and rethink the meaning of the performer/composer in reforming the relationship with his audience.

In this work, the audience can form their own experiential journey between music and image. I decided to connect painting, music, and interactivity by starting with the high-resolution digitized image of the right panel – the musical hell – of Hieronymus Bosch’s Garden of Earthly Delights. With the help of an application designed to transform the cell phone into a joystick, the spectator has the opportunity to embark on his or her own journey within the projected image, cadenced by the various soundscapes created specifically for each section of the painting and on multiple planes of image zoom.

This project aims to understand the primary object of art in terms of interrelations that are not only human. In this multidisciplinary ecosystem the artist and the audience can interact, not with each other but with a third element, the plants, made active and sensitive to human action thanks to the aid of specially programmed capacitive sensors. The main question I want to ask here is whether a third element, such as the plants, alienated from the performer/composer and the audience, can be a relational element to create a community in which all individuals can contribute to the musical experience.

An intervention with color, directly on the facade of a beautiful building with an open gallery on Piazza del Popolo, gives life to the work Il respiro delle piante che produce cielo (blues). Inspired by the fifteenth-century frescoes – of which the Peccioli area preserves a beautiful example in the work of Benozzo Gozzoli in Legoli – and by the evocative landscape, the facade of the building has been colored with the tonalities of the sky in its multiple shades of blue of the RAL sample book. The same gradations of color are then reflected under the loggia, generated this time by luminous fluxes that, day and night, radiate the shades of blue (blues), reacting to the stimuli received by the plants placed on the terrace, which transmit, thanks to specific sensors, the “sensations” related to their biological data and to the atmospheric and light changes, which would naturally escape us, making us insensitive to their life. “Sensations” that are returned in sound form and that reflect the breath of the plants, that breath that produces the sky above us.

The open-air museum of the city of Peccioli hosts works by artists such as David Tremlett, Patrick Tuttofuoco, Alicja Kwade, Vladimir Dubossarsky and Alexander Vinogradov, Vedovamazzei, Mario Cucinella.

Suite-Ω
The project was born from a group of instrumentalists, coming from various musical backgrounds, but united by their interest in and study of electronic and electroacoustic music, and united by the intent to offer an experience in which various languages (glitch, analog, coding) and various instruments (analog synthesizers, software, string instruments) were merged to offer a complex performance whose characteristics are the evolutivity of the composition, the immersiveness of the listening experience, as well as the revisiting of compositional forms through the mixture of structure and improvisation. It therefore happens that timbral research and attention to spatialization (placement of sound sources in space, real and virtual) are aimed at suggesting to the viewer an active, imaginative type of listening, all enriched also by the visual impact of the coexistence of various technologies and instrumentation heterogeneous in architecture and characteristics, as well as by the proposal of techniques and performance gestures peculiar to contemporary electroacoustic language.