I EDIZIONE
FIRST EDITION
2014

CONSERVATORIO L. CHERUBINI
VILLA BARDINI
4/13 luglio – 4th/13th july

90 opere, 85 artisti, 16 paesi del mondo
10 concerti multimediali
6 conferenze
9 installazioni multimediali
1 Masterclass

ARTISTI/ARTIST

USA: Bill Viola, Esther Lamneck, Thomas Beverly, Julian Scordato (togliere), Julius Bucsis, David Durant, Sylvia Pengilly, Izzi Ramikssoon, Eric Lyon.

FRANCIA: Julien Beau, Florent Colautti.

ITALIA: Alfonso Belfiore, Apparati Effimeri, Marco Ligabue, Emanuele Giorgetti, Nicola Giannini, Giovanna Bartolomei, Edoardo Dinelli, Paola(manca spazio)Lopreiato, Andrea Venturoli, Mattia Borghi, Matteo Masi, Giorgio Albiani, Pietro Grossi, Giulia Vismara, Vanessa Trippi, Tommaso Tozzi, Julian Scordato, Nestore Buonafede, Andrea Loriga, Marco Dibeltulu, Nicoletta Andreuccetti, Tommaso Rosati, Samuele Strufaldi, Roberto Neri, Vernon Buckler, Fulvio Vasarri, Andrea Bui, Pietro Dossena, Gregorio Panerai, Marco Marinoni, Alessandra Panerai, E-cor, Linda Tuci, Leonello(manca spazio)Tarabella, Derrick De Kerchove (togliere), Alessandro Baris, Nicola Frattegiani, Lamberto Maffei

ISLANDA: Xarene Eskandar

AUSTRIA: Takuto Fukuda

UK: Jeremy Turner, Maggie Jackson, Lucy Steggals, Adam(manca spazio)Stansbie, Andrew Hill

GIAPPONE: Ayako Sato

CANADA: Audiotopie

BELGIO: Derrick De Kerchove

IRAN: Gelareh Soleimani Lavasani, Sasan Bahadori Nejad

MESSICO: Jorge Sosa

SPAGNA: Josè Garcia Lopez

CILE: Jaime Andrés Ramos Pérez, Cristian Gajardo Allende

GERMANIA: Walter Ruttmann

SOUTH KOREA: Young-Shin Choi

COLOMBIA: Juan Carlos Vasquez, Rolando Vargas

ARGENTINA: Luis Valdivia

MASTER CLASS MULTIMEDIA ENSEMBLE LAB

Esther Lamneck - New York University
The Steinhardt School of Culture, Education and Human Development

INSTALLATIONS/EXIBITIONS/VIDEOs

Alfonso Belfiore* - SPAWN, make the game. Interactive multimedia installation for sounds, images, DEVA Powersoft devices and people.
Every moment of our life, our existence is bound to a place, a place where space, be it even happen. A moment that will find its extension, its extension, its meaning, in memory, in our minds. Therefore there is a deep connection between space, time and psyche. The capture of an image is perhaps the illusion of having grabbed one of those moments, to have frozen its meaning, to be able to dispose of its energy, its power. Thus, for the visitor, the discovery of their image within the work, immersed in the flow of images, is the acknowledgment of the inevitable participation of one's being to the history and life, while the transfigured vision of its image fully reveals new aspects of their identity lived at that time almost with the eyes of others.

Jeremy Turner - Redacted
Redaction is a process usually applied to documents where textual information is struck out by the application of a heavy black and impervious line. This may be a result of a need to censor information, or for the context of a document to be removed to provide for an objective reading.  As a result, information is denied and an understanding of the document itself is potentially compromised. This work utilises the spirit of redaction in a three dimensional form. Familiar and mundane objects, objects that are taken for granted or go unnoticed become richly unfamiliar and enigmatic as they undergo a simple wrapping process. Original form, though distorted, retains sufficient information to visually resonate its source. Not only is an examination of the work itself promoted, but also a revisiting of those objects we normally ignore.

Audiotopie - Parallel Circles/Prospettive
Key words: Heightened audio reality/Interactive experience in situ/On-site composition/
Parallel circles offers a parallel audio reality in real time that responds to the listener’s movements through a place. This interactive composition of forms and sounds works in harmony with the listener’s surroundings and the structure of each site. This project reimagines the environment, enriching it with a creative, audible, sensory experience-an environment that thrives on mobile satellite technology!

Apparati Effimeri - Naturalis Historia
Apparati Effimeri took part to the Digital life 2012 (Digital section of Roma, Europa Festival ), with the garden projection Naturalis Historia, a video projection made by the use of real trees and shrubs specifically set up inside of the space Ex-Gil in Trastevere. The 3d projection employed to the vegetation, which compose the garden have wrapped the audience in a dreamlike and wonderful atmosphere which altered the perception of space helping to enhance their prospects. Apparati Effimeri has increased the study of natural elements, that has begun with the experience of Wagner’s Parsifal directed by Romeo Castellucci continued with the old herbals of Ulisse Aldrovandi Life and Limb for the project and came here to the meeting with the fundamental text for all studies physical and natural sciences: the encyclopedia Naturalis Historia of Pliny the Elder (Como, AD 23 – Stabia, 79 AD). The user was immersed in a forest the first light of dawn, when the leaves acquire pearly shades and everything happens in a size changing and changeable.

Marco Ligabue* - Pietro Grossi: un pensiero al futuro
A short presentation of life, works adideas ofPietro Grossi, italian pioneer of electroacoustic and digital music. The speech will present the pieces of the installation with music of Grossi, their typologies and concepts behind, explaining his creative path.

Emanuele Giorgetti - Oikeiosis, Spiriti ancestrali
Oikeiois, Spiriti Ancestrali was installed for the first time in January 2014 for the final exam of the course of Music and New Technology in the Conservatorio Cherubini in Florence. The purpose of the opera is to act like the burning bush described by the Book of Exodus. The listener attracted by a totem would sit down on the chair in front of it triggering the performance. The relation 1 on 1 between the listener and the totem, the mirroring effect and the closed environment promote a personal journey. The journey is guided by the ancestral spirits who inspired the composition, made by 16 micro-composition, each one represent a totem animal. Synthetic and concrete sounds, searchedand taken from the world of internet are edited and shaped in an opera of 17 minutes. A video is placed in the middle of the totem and act like a mirror for the person who's sitting in front of it. Arduino manages the automations. Everything in the opera is very rational in contrast to spirituality. This is Oikeiosis.

Gelareh Soleimani Lavasani* - Dove vola la nostra voce?
At this time, I believe that our words are not able to express what we are experiencing, in every breath, in every step of our life, in every moment of our days ...days that could pass as those of thousands of other people in the world, days full of joy and beauty, green and hope for the future ... a future of freedom flowing in our voice, a voice lost that we do not know where it flies!

Josè Garcia Lopez - Komm Wie Du Bist! Come as You Are/"A Tour Diary"
A 30-minute multi-media presentation telling the story of several trips to seven cities in four different continents: Shanghai, Nairobi, Mexico City, Jerusalem, Berlin, La Habana and Rio de Janeiro; various meetings with people who were willing to share part of their experiences and journeys in life. The stories are narrated both in first person and some in third person.These are the cities where the author has toured with Gen Rosso where he currently works, since the group has provided possibilities to meet many people from diverse social, political and religious origins. Every encounter has been a reciprocal enrichment; fragments of life experiences shared in a single work


Nicola Giannini - Violent dinner
Violent Dinner is a Mixed Media work. The video track and the audio track definitely coexist. The video technique is Live Action, while the Electroacoustic Composition is characterized by the use of Field Recording and Vocoding, as main technical strategies. The piece consists of two main parts, these parts are subdivided in other two sequences. The composition leitmotiv are some drops that are falling on a surface. The main elements, such as - drops, metal and glass sounds, tools sounds and spatters - report what is happening. The work is characterized by an equivocal cause-and-effect relationship, due to an ambiguous use of sound-image synchrony.


Giovanna Bartolomei/Edoardo Dinelli - Dominio ulteriore
Dominio ulteriore was born some years ago in a tonal and acoustic form, titledSudio for 2 harps and piano. Composed in a short period of time and split by a trip to Ireland, it keeps its original acoustic form without being modified or altered. Until now. The main idea still runs through this new version, yet adding a “further domain” or a different range, within which electronics takes part into the musical discourse, amplifying it. So Reverb defines music layers between melodies and accompaniments, filters and delay paint music gestures and granulators brake long piano notes.


Paola Lopreiato - Un cuore sotto una sottana
The video material used in the piece Un cuore sotto una sottana is recorded in Australia. The video shows a beautiful countryside and the legs of young woman repeatedly walking backwards, away from the camera. The shot is static and frontal.
The video material used in the piece Silenzioso, invisibile is recorded in Calabria, the place I grew up. The video shows a street and a lady repeatedly walking forward on the pavement. The shot is static and side view.

Andrea Venturoli - La cassa
In a degraded environment in the suburbs, a hermit has built a wooden case. Through a randomly created hole, that man's eye looks inside the wooden case his fancyfull ego projection, like a charm, the degradation becomes poetry, desire, feeling, through a series of dream episodes. But the monsters that populate the disordered mind of man, in a flash of cold rationality, it would drive them to integrate in the behavior patterns of today's society, but he runs away, in his naive and instinctive way. But is he really running away? "The Case" is not only a video-installation, but rather a silent movie that has been given the gift of sound.

Mattia Borghi - Onirico
Is a dreamlike composition of electroacoustic music that was created with the intent to represent a dream that anyone could do. It plays on a mixture of sounds and images that blend with concrete sounds and abstract images of nature can not be defined, just as in dreams.
The nightlife in contrast to day life, where our activities are diversified and determine certain types of sensations, however, limited to the work performed, may emerge a multitude of emotions of particular relevance in a significantly short time, then the dream world is adequate to represent certain feelings that are in conflict and bear one another in the work.
In this dream are therefore countered by various emotions and images that are part of the conflict has always been present in the life of humanity: the time and the perception of it, the search for an escape from the hectic life caused by environmental elements that engorge the day, the fear of pause and reflection of the material from which they can raise uncomfortable questions (who are they? where I come from?, where am I going?) and phobias such as fear of time passing, the fear of losing loved ones, fear to look back and see that everything is spent in a moment, the fear of death, suffering and loneliness, and finally hope understood as the discharge their suffering on a larger somthing that is not terrain but afterlife

Jaime Andrés Ramos Pérez - 09:10 am
09:10 am has been composed using as a starting point the audio recording of president Salvador Allende's last speech, broadcasted by Radio Magallanes to the Chilean people the very morning of the coup d’état on the 11th of September 1973. The elements that conform the piece are the broadcast recording of Allende's speech accompanied by a crafted underscoring of synthesized sounds. The speech itself has been utilized as a sound object, which has been electronically modified to enhance its inner musical elements (melody and rhythm) present in how Allende read the speech to the nation. The sounds that conform the soundtrack have been used to highlight the meanings and emotions of the speech itself, emphasizing the sensations of tension and relax in connection to the speech’s inner melody and rhythm.

Matteo Masi (music)
Berlin akte 1, from Berlin - Die Sinfonie der Groβstadt di Walter Ruttmann
This is an adaptation of the first act of Walter Ruttmann’s film/documentary, for an Italian “localization” of music, written by Matteo Masi.
Berlin – Die sinfonie der Großstadt is a silent motion pictures directed by Walter Ruttmann. It premiered at the Tauentzien-Plast in Berlin, on September 23rd 1927. The original score was written by Edmund Meisel. This is a geographically but above all temporaily “localized” version that uses means and expressive languages of electroacustic music, in addition to the technical possibilities that, from the sound era forward, have made possible a more precise narrative unity between sound and image (the synchronization). It therefore possible, through the element of music, to radically revisit this Ruttmann’s movie.

Giorgio Albiani - Pensieri invisibili
multimedia work of Giorgio Albiani - in collaboration with Serena Meloni and Giammarco Rossi/At night the strip of overtaking, omnipresent and always equal to itself the sound of the road and the engine cradle you in the lap of a car. Throughout the time of the trip, successive thoughts and moods intimate and deep, alternating with other fruit combinations of messy. This is nothing more than an "attempt" media to tell the thoughts that inhabit a trip.


Young-Shin Choi - Pamuk
Pamuk is my fourth work influenced by Brush Calligraphy focuses on transforming the gestures inside the strokes and the shades of ink to music with the gayageum (Korean 12-string zither) and electronics. Non-processed traditional sounds and substantially processed sounds coexist and create intriguing sonorities. They are varied, detailed, subtle, flexible, reactive, blending with and supporting one another.


Lucy Steggals - Colour Mining Blue
Blue Town is a suburb of the town of Sheerness on the Isle of Sheppey in Kent. Blue Town grew up alongside the Naval Dock Yard during the Napoleonic Wars. It gained its distinctive name from the practice of the earliest inhabitants to preserve their wooden houses using blue paint ‘liberated’ from their employers in the dock yard. It is a small self-contained community positioned in a triangle of houses and alleyways, compressed between the dockyard wall and Well Marsh (home to the steel works).
In February and March 2012 I put on a pair of blue high-top trainers and spent 30 days colour mining blue in the town. The data collected was used to create the short film Colour Mining Blue. The physical archive of blue (photographs, film and audio recordings) is housed at the Blue Town Heritage Centre.


Thomas Beverly - Dancing tree
Dancing Tree is product of my fascination with slow growth. The tree in this time lapse video is about 300 years old, but is only 15 feet tall because of the desert environment where it grows. The music in this piece is a sonification of the subtle, but often frenetic movement of the dancing tree on one windy day in the desert of west Texas.


Davide Palmantiero, Giuseppe Pisano, Massimo Varchione - Improvviso
The performance "Improvviso" is based on the interplay between the three musicians, refined after a long period of rehearsals. The initial choice, from which the whole project moves, is the denial of a fixed form. Each performance is different from the previous one because the research of new sounds by each of the members is constant and avoids the crystallization of musical thought. The listening attitude and a costant work for mutual understanding are the core of “Improvviso”.


Gelareh Soleimani Lavasani* - Io
The song is an attempt to reach inner union between East and West, a West represented by a world of sound technology and an east represented by the traditional Iranian music as has happened in fact in the life of the author. The game between the treated and pure sound is the metaphor of a person lost, lost between two completely different worlds who travels mentally and in continuation to find herself. The sounds glissandos are the signs of these endless journeys. East and West are in front of ourselves to the outside world, are the trips that never end and the questions that will never have answers. The bran ends in wait, waiting to find a balance. The piece lasts 10 minutes and is divided into 8 sections, here are used fragments of the repertoire of Persian music (Radif). Radif is divided into a structure that includes 7 dastgah ava and 5, each of these structures implies an inner and philosophical way. In the opera some of these structures are used : NAVA, Shoor, Afshari, ABUATA and HOMAYUN. The opera is made with various synthesis techniques using various software. Some parts have been realized with the software Csound both for sound synthesis of electroacoustic original materials for both the treatment of products with the sounds Setar.

Josè Garcia Lopez
Komm wie du bist! Come as You Are/“A Tour Diary”, video documentary (34’00”)
A 30-minute multi-media presentation telling the story of several trips to seven cities in four different continents: Shanghai, Nairobi, Mexico City, Jerusalem, Berlin, La Habana and Rio de Janeiro; various meetings with people who were willing to share part of their experiences and journeys in life.  The stories are narrated both in first person and some in third person.  These are the cities where the author has toured with Gen Rosso where he currently works, since the group has provided possibilities to meet many people from diverse social, political and religious origins.  Every encounter has been a reciprocal enrichment; fragments of life experiences shared in a single work.

Nicola Giannini
Violent dinner (4’24”) 
Violent Dinner is a Mixed Media work. The video track and the audio track definitely coexist. The video technique is Live Action, while the Electroacoustic Composition is characterized by the use of Field Recording and Vocoding, as main technical strategies. The piece consists of two main parts, these parts are subdivided in other two sequences. The composition leitmotiv are some drops that are falling on a surface. The main elements, such as - drops, metal and glass sounds, tools sounds and spatters - report what is happening. The work is characterized by an equivocal cause-and-effect relationship, due to an ambiguous use of sound-image synchrony.

Gelareh Soleimani*
In mezzo al nulla (5’00”) 
'I feel myself in the middle of clouds which speak without knowing how to speak, which love without knowing how to love, which walk without knowing how to walk... I feel myself in the middle of the birth of a poem of glances which finish, with the traces of a sigh, in nothing...


Giovanna Bartolomei/Edoardo Dinelli
Dominio ulteriore (6’11”)
Dominio ulteriore was born some years ago in a tonal and acoustic form, titled Sudio for 2 harps and piano. Composed in a short period of time and split by a trip to Ireland, it keeps its original acoustic form without being modified or altered. Until now. The main idea still runs through this new version, yet adding a “further domain” or a different range, within which electronics takes part into the musical discourse, amplifying it. So Reverb defines music layers between melodies and accompaniments, filters and delay paint music gestures and granulators brake long piano notes.

Paola Lopreiato
Un cuore sotto una sottana (4’04”)
The video material used in the piece Un cuore sotto una sottana is recorded in Australia. The video shows a beautiful countryside and the legs of young woman repeatedly walking backwards, away from the camera. The shot is static and frontal.
The video material used in the piece Silenzioso, invisibile is recorded in Calabria, the place I grew up. The video shows a street and a lady repeatedly walking forward on the pavement. The shot is static and side view. 

 Andrea Venturoli
La cassa (7’47”)
In a degraded environment in the suburbs, a hermit has built a wooden case. Through a randomly created hole, that man's eye looks inside the wooden case his fancyfull ego projection, like a charm, the degradation becomes poetry, desire, feeling, through a series of dream episodes. But the monsters that populate the disordered mind of man, in a flash of cold rationality, it would drive them to integrate in the behavior patterns of today's society, but he runs away, in his naive and instinctive way. But is he really running away? "The Case" is not only a video-installation, but rather a silent movie that has been given the gift of sound.

Mattia Borghi
Onirico (12’12”)
Is a dreamlike composition of electroacoustic music that was created with the intent to represent a dream that anyone could do. It plays on a mixture of sounds and images that blend with concrete sounds and abstract images of nature can not be defined, just as in dreams.
The nightlife in contrast to day life, where our activities are diversified and determine certain types of sensations, however, limited to the work performed, may emerge a multitude of emotions of particular relevance in a significantly short time, then the dream world is adequate to represent certain feelings that are in conflict and bear one another in the work.
In this dream are therefore countered by various emotions and images that are part of the conflict has always been present in the life of humanity: the time and the perception of it, the search for an escape from the hectic life caused by environmental elements that engorge the day, the fear of pause and reflection of the material from which they can raise uncomfortable questions (who are they? where I come from?, where am I going?) and phobias such as fear of time passing, the fear of losing loved ones, fear to look back and see that everything is spent in a moment, the fear of death, suffering and loneliness, and finally hope understood as the discharge their suffering on a larger somthing that is not terrain but afterlife

Jaime Andrés Ramos Pérez
09:10 am (7’15”) 
09:10 am has been composed using as a starting point the audio recording of president Salvador Allende's last speech, broadcasted by Radio Magallanes to the Chilean people the very morning of the coup d’état on the 11th of September 1973. The elements that conform the piece are the broadcast recording of Allende's speech accompanied by a crafted underscoring of synthesized sounds. The speech itself has been utilized as a sound object, which has been electronically modified to enhance its inner musical elements (melody and rhythm) present in how Allende read the speech to the nation. The sounds that conform the soundtrack have been used to highlight the meanings and emotions of the speech itself, emphasizing the sensations of tension and relax in connection to the speech’s inner melody and rhythm.

Matteo Masi (music)
Berlin akte 1, from Berlin - Die Sinfonie der Groβstadt di Walter Ruttmann (10’00”) 
This is an adaptation of the first act of Walter Ruttmann’s film/documentary, for an Italian “localization” of music, written by Matteo Masi.
Berlin – Die sinfonie der Großstadt is a silent motion pictures directed by Walter Ruttmann. It premiered at the Tauentzien-Plast in Berlin, on September 23rd 1927. The original score was written by Edmund Meisel. This is a geographically but above all temporaily “localized” version that uses means and expressive languages of electroacustic music, in addition to the technical possibilities that, from the sound era forward, have made possible a more precise narrative unity between sound and image (the synchronization). It therefore possible, through the element of music, to radically revisit this Ruttmann’s movie.

Giorgio Albiani
Pensieri invisibili (3’00”)
Multimedia work of Giorgio Albiani - in collaboration with Serena Meloni and Giammarco Rossi/At night the strip of overtaking, omnipresent and always equal to itself the sound of the road and the engine cradle you in the lap of a car. Throughout the time of the trip, successive thoughts and moods intimate and deep, alternating with other fruit combinations of messy. This is nothing more than an "attempt" media to tell the thoughts that inhabit a trip.


On the road/'They fly from me who sometime did me seek'. (Thomas Wyatt, C16 poet)
The initial impetus for this work came from the habitual loss of pieces of clothing whilst travelling, when examined, this loss could be construed as forgetfulness, negligence, or an absence of care. The wrapping and transporting of one's belongings brought to mind the bundles on sticks used by itinerant travellers in fairy tales and common in the European tradition. In one such 'rags to riches' story, Dick Whittington goes to London to seek his forrune and is subsequently made Lord Mayor. Such bundles of clothing are suggestive of a paucity of possessions, a need to travel light, a need to move on and an impermanence. The darker side of this imagery reminds us of refugees: the dispossessed. There can be a magic in venturing into the unknown which is tempered by possible hazards and disasters I always travel light. All forms of communication may be viewed as interdependent since they are governed by the senses. The title of this piece is a subversion of the title of the novel by Jack Kerouac and therefore has certain resonances. The use of literary and poetic references when explaining or describing artwork attaches to the work itself and can become an integral part of it. I see the combination of text and image as strengthening the work and enriching it, rather than taking away from the visual. Image and text may be totally interdependent in a work, or one may predominate over another, but they are an essential part of the way in which the body and mind receive and communicate with the world. As art histrian Derek Wilson notes 'Art is not what a man does; it is what he is.'


Bill Viola - I Do Not Know What It Is I Am Like
One of the major works in video, I Do Not Know What It Is I Am Like envisions an epic quest for transcendence and self-knowledge. Viola describes this work as a "personal investigation of the inner states and connections to animal consciousness we all carry within." The title is taken from the Rig-Veda, the Sanskrit spiritual text that defines a procession through birth, consciousness, primordial existence, intuition, knowledge, rational thought, and faith, to arrive at a transcendent reality "beyond the laws of physics." Unfolding in powerful, emblematic images and allegorical passages, Viola articulates a dramatic quest for self-knowledge through an awareness of the Other, embodied here by a shamanistic vision of animal consciousness. Structured in five parts, Il Corpo Scuro (The Dark Body), The Language of the Birds,The Night of Sense, Stunned by the Drum, and The Living Flame, the tape envisions a metaphysical journey of rational and intuitive thought, from the natural world to spiritual rituals. Viola's poetic investigation of subject and object, observing and being observed, and his search for knowledge of the self is encapsulated in an indelible visual metaphor: an image of the artist reflected in the pupil of an owl's eye.
Additional Camera/Production Assistance/Still Photographer: Kira Perov. Engineering: Tom Piglin. Produced in association with the American Film Institute, Los Angeles; The Contemporary Art Television (CAT) Fund, a project of the WGBH New Television Workshop, The Institute of Contemporary Art, Boston; and ZDF, Mainz, West Germany.


Vanessa Trippi* - Vajont
1963, oct 9th; 270 millions cubical meters of ground from mount Toc fall over Vajont Dam, followed by an earthquake and two giant waves. Last wave slipped and submerged the valley causing at least 2000 casualties. Inspired by such tragedy, composition takes name from the dam itself; with flushing and washy sounds and form, describes the tragedy "from the cradle to the grave", remembering what happens when Ego clashes against Nature.


Ayako Sato - Sen no kagiroi“sen no kagiroi” means heat haze of a line. The composer traveled to get in touch with a certain ”sen” (a line). This piece is the 3rd work by the reminiscences of her journey, and it is composed by recorded sounds in various summer festivals in Japan. Sunlight refracted irregularly, looks like a phantom of summer. The volume of those sounds, as sounds as auditory hallucinations in far away, is very small. When Listen carefully, a layer of sounds, such as heat haze will come out on the timeline.


Jiulian Scordato - Vision II
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 vision of the world (i.e. the cosmology of positive and negative), but the counterpoint between appearance and anatomy of the image in its sound quality. The visual part determines the sound design aspects: it generates and controls the sound, integrating the particularity of the instant and the contingent.


Andrea Loriga - Esplosione Armonica
This compositon came up from the idea of electroacoustc music and club music as one thing, two world which characterize the author. This work is identfied by a slow evolution of time and the layer-band sound. The compositon came from interestng to tmestratching, which had allowed to realise the idea of slow evolution of time. It starts with an incipit of a traditonal instrument, a mouth organ, and with an inital trouble by the glitches, afer that the instrument “explodes” and It opens a suggestve melody of bands sounds that overlap for the entre compositon, interactng witch beat and glitches. In the compositon there are sectons where the slow evolution of the bands sound and the mouth organ interact together, making up the main theme, while beat and glitches are mute.


Andrea Massari - Dimensioni sonore della scomposizione di una immagineIn music, the need to create overflows from the affective, relational and emotional needs themselves. Even in the deepest layers of the mind, feelings and sensations develop and progress in a swirly and chaotic way, which are the transfiguration of experiences linked to the conscious life and which have - with an astonishing vim ñ the desire of finding an expressive release, through new, concrete and often symbolically representative shapes. This is the awareness that sustains the present work, in which the deepest emotion of the sound yielded reworking the features of the expressivity itself troughout the manipulation of the sound map image, following a path in which the deepest perception becomes image, sound emotion. The conventional sound dimension melts with the real one through an emotional rework which sublimates it in a new sound. I hope that with this premise - through his personal listening experience - everyone shall perceive the inner force of these emotions.


Nestore Buonafede - Ulalume
Directed/produced/screenplay by: Nestore Buonafede
Music and sound design: Matteo Masi
Costume: Barbara Farina, Daniela Palumbo - decor: Daniela Palumbo
Cast: Jay Natelle ( as Edgar A. Poe and voice off), Sara Giulivi, Cecilia S. Bellini delle Stelle, Lavinia Parissi, Raffaella Baroni.
FILM SYNOPSIS:
A night journey, Edgar, the poet, in company with Psyche, his soul, through spectral and shadowy landscapes. The two characters, after stopping at a forest, peopled with archetypal figures and horrific, and then, with a mysterious lake, come near a stately avenue, flanked by monumental cypress trees, which pass through. When, at dawn, come the end of the avenue, a distant star flooded them with a light arcane and mysterious, attracting to itself Edgar, as the sirens did with Ulysses. That magical star, intoxicating and wonderful, retain, however, in itself, a terrible trap, from which, Psyche try in vain to save him, trying desperately to dissuade him to continue the journey, and begged him to come back until I still time. Edgar, though, as if hypnotized, and that irresistible attraction, pushes inexorably forward, dragging with it the recalcitrant Psyche. But in a short time, that light, warm and welcoming, changes color, becoming cold and distant. That light, almost greenish, awakens in him doubts and uncertainties, making him shiver. Shortly thereafter, a tomb bar their way, and knowledge, so long lovingly hidden, emerges in the light of consciousness, making it more conscious, but at the same time more fragile. That monumental tomb, located on the edge of his mind, it holds a terrible secret, knowledge of which destroy him. The past, buried in the deepest recesses of his soul, returned slowly to the surface; Psyche, distraught, tells him who is buried in there: Ulalume, his beloved, lost Ulalume. Ulalume is not, however, she believed that he, his adored young bride, but she who gave him life, and has fed and bred among the miasma of illness and death, until, at only 2 years, has seen her die in agony. Ulalume is his mother Elizabeth, who died of tuberculosis after repeated hemoptysis, as well as Virginia died of tuberculosis his beloved wife. The memory, then, stands out vividly in front of him, and death, that silently and secretly, had accompanied him throughout his life, he shows, finally, in all its horror, and spreads her black cloak inside him. Psyche, the vital soul, which so long supported him, is no longer necessary, and, weeping, leaves him, alone and desolate, in the arms of the woman, who soon he will claim the body also.


Marco Dibeltulu - Il nastro di Möbius
The Möbius strip, “continuous” geometric surface, is universally used as the symbol of recycling, and therefore – with all due transpositions – it fully expresses the musical concept of cyclicality. For this reason, this work has used concrete sonic materials evoking the treatment of industrial waste, but also the most common sonic objects, which have been processed through the use of loops, rhythmic accumulation and the re-proposition of “themes”. The intent of the composition is to re-assemble the objects handled, so as to design a contemporary soundscape, which is an integral part of our daily lives.


Juan Carlos Vasquez - Collage 2
Collage 2, (After L.v. Beethoven) / A digital de-construction of Beethoven’s Piano Sonata No. 21 in C major, Op. 53, known as the “Waldstein”. Mastered by the grammy-awarded engineer Silas Brown (Legacy Mastering) and recorded and mixed entirely at JC Vasquez Studios in London, UK.


Nicoletta Andreuccetti* - Studio sull'ombra
The shadow is metaphor and herald of diversity, of inexpressibility’s dimension. At the same time, it can not exist without light, without the brightness, its essential corollary. The performer, suspended between light and shadow, between the light of the shadow and the shadow of the light, gradually builds spaces that are revealed and denied, in a continuous and inexorable saturation of space. Vowel sounds, phonemes, breaths and percussive sounds evoke the inner world, the pre-cultural dimension of the existence. In this darkness, the figures reveal the unconscious, shake and alter the conscience: technical proliferation and sound processing such as delay, time stretching, pitch shifting and morphing create this ever-changing and less distinct scenery of the unconscious. These morphological deformations witness an identity that overshadows and sinks in the depths of darkness, in a gradual temporal dilation that develops in the low frequencies.


Rolando Vargas - Walking kids of Choco
monochannel video/sound/HD
On the edges between Panama and Colombia in the Darien Gap tropical forest live the Kuna people, an indigenous community that follow to this day ancient Native American traditions. The film follows the story of one of those families and specially their older children that must walk for four hours to attend to the nearest high school. Through the eyes and presence of the filmmaker we see the quotidian life of Edinson’s family and the roll of children in this culture. Edinson has taken the decision of finishing high school in Unguia. His displacement is not only physical but also cultural. Classes are taught in Spanish and not in Kuna, and the education received ignores his Native American roots. The journey for Edinson starts around five in the morning. He has to start walking heading to school in almost total darkness for approximately one hour by following trails in the middle of the jungle. After dawn they have to walk another half hour to forty- five minutes following precarious roads made for animal transportation until they reach Unguia. It takes probably another fifteen minutes to cross Unguia and arrive to school. They must be at school before 7am otherwise they are sent back home. Back in the village we follow Edinson immersed in his indigenous life while we try to understand the reasons and motivations behind his decision to do this walk and how do he manage the complex equilibrium between tradition and modernity.

Julien Beau - La perle noire
... There might be in the universe a tiny star cluster where is hiding a rare moon with dark features. A foreign object moves in its orbit. And as it approaches, it seems that intense strength spreads so that space-time is thereby suddenly distorted as if the Light was manipulated to protect a secret ... I wanted to work with this new audiovisual creation two types of sound syntheses (modular and granular) tying me only has their stamps and their morphologies in time and in space. The main theme sets opening was as decisive for the rest of the composition only choice aesthetics of my images. The vision literally "cosmic", I find how to translate with means that I always want simple. These are just the footage from outside in a high definition camera (without 3D), which I then articulates with editing software. The use of colorimetry was the only parameter which I am subject to express contrasts, shades and intensities.


Xarene Eskandar - Salton sea revisited
Drawing inspiration from Jean-Claude Risset's Sud and Luc Ferrari's Presque Rien N°1, Le Lever Du Jour Au Bord La Mer , the piece begins with a dialog between the environment: the waves, the bleached barnacle beach, the train, the birds. The envelope of the composition follows the envelope of the aural activity of the day and the patterns of the birds that tend to be noisiest at dawn and dusk with a calm in mid-day.


Tommaso Rosati/Samuele Strufaldi - Fog, for piano and live electronics (9’00”)Fog/In a city of a somewhere north, just before dawn. An old dark-wood window is open to the street. There is a dense blanket of fog outside, a white wall that looks like smoke. Gradually the eye delves into the cloud and get used to the lack of light, the first silhouettes emerge, the first sounds, the smells in the morning, four small scenes of a wandering theater, isolated from the white ethereal scenes. A woman talking to a baby. Two men with worn coats conversing quietly while walking on the stones. A quarrel between lovers. The dancing figures of smoke. The piece, in particular by using the techniques of freeze created with analysis-resynthesis in FFT, creates four clouds of sound with different characters, sometimes conflicting, sometimes consonants and ethereal. Strong reverberations build a large, liquid environment in which is hard to see the end and notch filters dig in the created tone by removing frequencies, attenuating or enhancing other as if they were eyes in the fog trying to dig for a figure of a known face. The figures emerge through brushstrokes of piano notes to create well-defined characters, who have in common only the dense fog which, like a jealous lover, try to hide them.


Roberto Neri – Presentation: Sonification
Sonifcation is the faithful rendition of data in sounds. Data sonification is currently used in several fields, for different purposes: science and engineering, education and training, since it provides a quick and effective data analysis and interpretation tool. When the data come from scientific experiments we speak of scientific sonification. Scientific sonification is therefore the analog of scientific visualization where we deal with aural instead of visual images. Because sounds can convey significant amounts of information sonification has the potential to increase the throughput of a data representation and uncover structures that may be hidden to the eye.


Vernon Buckler - First I was afraid
It is difficult for me to describe a piece of music, especially if the music is mine. One of the things I could say is that it has been made with an electroacustic instrument (a "multiple scrubber"), designed by me. The instrument itself is the main part of the music, in this case. The original recording has four channels. I always wonder if music has a significance and sometimes I think music is only sound. In fact we no longer compose with notes. We compose with sounds and we hear sounds. Electroacustic music has transformed the idea of music itself. Also the title is pure sound. The chaos theory more than anything else may explain what is happening in our days, which seem to be governed by random ubiquity of deterministic laws. Here the chaos of Fisrt I was afraid evokes the paradoxical assumption of the reflection of an experience, which would seem to deny the possibility of a reverse. You could also describe as an attempt to represent a form of exclusion, through the delimitation of its boundary only.


Fulvio Vasarri - LuceOmbra
LuceOmbra is the symbol of perpetual fuire of time, the eternal contrast between dark and light the metamorphosis of things seen with shadows and flashes of color that alter the perception of shape. The music, the words and images combine to tell this endless journey that is repeated eternally as a cycle of birth, aging, death and new life to all things.


Andrea Bui* - Sentry “M” (dedicato ad H.R. Giger),
He was wet and hungry and cold and he was fifty thousand light years from home. [...] He aimed his gun and opened fire. The alien made that strange horrible cry they all make, and then a deathly silence. It was dead. The sight of the dead body made him shudder. They were horrible disgusting creatures, with only two arms, two legs, two eyes, and awful white skin and without scales. (Friedrick Brown, 1992)

Julius Bucsis - The Drama in Her Eyes
The piece was inspired by a personal encounter.

Pietro Dossena - Santa Barbara Portraits
“Santa Barbara Portraits” is a multimedia project dealing with perception and imagination. It consists of a series of portraits showing my perspective on the personalities of the portrayed people. The preliminary materials (sound and video recordings of each person reading a short text and copying it by hand) have been modified (and often betrayed) in order to create new audio-visual images of selves.

Gregorio Panerai* - A bit of the dark world
What is Reality? How do we perceive the world? How do we perceive ourselves?In reality, our senses bear the responsability for our perception, our consciousness and our being. And what if we could get sensations through new senses? What would we feel? A Bit of The Dark World attempts to give a possible interpretation, drawing inspiration from the novel by Fritz Leiber. Composed by Gregorio Panerai making use of various technologies of synthesis and sound processing, this work has been completed by editing a lots of different clips and a video performed by Alessandro Perilli.


Luis Valdivia - Xaev1uox, acousmatic Xaev1uox
The piece was finalized om March 2014, and was made with the programm Supercollider. I'm working there with Two dimensional Cellular Atumata from Conway's „Game of Life“.At the same waxy, the musical structures are permanent evolving to new states, they are repetitive or „still lifes“. The antagonism between life and death, still and evolving structures is the subject of the piece.


Giorgio Albiani - Pensieri invisibili
Multimedia work of Giorgio Albiani - in collaboration with Serena Meloni and Giammarco Rossi/At night the strip of overtaking, omnipresent and always equal to itself the sound of the road and the engine cradle you in the lap of a car. Throughout the time of the trip, successive thoughts and moods intimate and deep, alternating with other fruit combinations of messy. This is nothing more than an "attempt" media to tell the thoughts that inhabit a trip.


Florent Colautti - En-dedans
Building a parallel between the human electric flow and an electric object, me shapes an organic life, an electric pressure, a static electricity reflecting the effect of "tension" and "charge"(positive / negative). Whether it is the voltage or the human tension these energy flows give birth to a traffic, resistances, balances...


Gregorio Panerai* - Migrations
The theme that has inspired the writing of this piece is the concept of sound's migration, meaning it as an extension of the term migration itself. Looking deeper into these two words we can better understand the structure, the form and meaning of the song. The migrations are movements that animals perform on a regular, periodic (seasonal), along well-defined routes (and usually repeated), and covering long distances , but then,they always come back to the areas of departure.We have created an arched path with various instrumental timbres of the violin. It starts from very small elements, such as the pinched .and that gradually evolve until they become long sound textures, and then permanently reverse the process and return to the point of departure.

Adam Stansbie - One times one
one times one was commissioned by The Electroacoustic Project (dir. Thomas Gorbach) and premiered on their acousmonium in June 2014.
Adam Stansbie is known for his electroacoustic/acousmatic compositions, which have been widely performed (throughout Europe, Asia, North and South America and Australasia), published (Elektramusic, Musique et Recherche, Taukey and Sargasso) and prized (IMEB, Musiques et Recherches, Destellos Foundation). Alongside his creative work, Adam has written extensively on the presentation and performance of acousmatic music and he is currently interested in the various ontological/phenomenological paradoxes that the acousmatic tradition seems to produce. Adam has taught at a number of institutions and is currently lecturing at The University of Sheffield where he directs the MA in Sonic Arts and the MA in Composition. For more information, visit: www.adamstansbie.com


Edoardo Dinelli/Giovanna Bartolomei - Metamorphosis
“Μεταμόρφωση” is the greek therm for changement, evolution, movement. Thus a being living through one form, gets into an other one, after a path made of more or less important steps. In the video two indefinite creatures, qualified by the very listener who chooses their sex, underground and maybe mood, pass through a precise transformation, a metamorphosis. Said fluid and even funny changement, occurs without any sorrowful aspect, in a natural and spontaneous way. Yet there’s no fate, or purpose, but only a metamorphosis. The soundtrack sonorizes images with total musicality, thus video forms and movements “pilot” forms and sound effects, that become real musical gestures.

Marco Marinoni - Of Shape and Action V – Vestida de Tormenta Of Shape and Action V - Vestida de Tormenta
Vestida de Tormenta is part of Of Shape and Action (2002-), a cycle of works for fixed media, which require diffusion on multichannel audio system and have the peculiarity of assuming as starting material for sound processing the recording of some poems read by the author. In the case of Vestida de Tormenta, the poem is; by Juan Vicente Piqueras: Yo sería el varón y tú la hembra /vestida de tormenta. Dormirías /en la palma del mar menos pensado/ diadema de otra luz en tus cabellos/ y en las manos remotas / la arena fugitiva de nosotros/ desiertos y felices. Viviríamos lejos, olvidados / del tiempo, ahora, en que éramos esclavos / de nuestro propio miedo y de este absurdo / mundo, sicario a sueldo de la muerte/ La isla está en nosotros aguardando que la rabia madure y se nos lleve/ Yo sería el varón y tú la hembra. / La memoria sería la manzanathe .


Marco Ligabue* – Presentation: "... and still the Queen kept crying ‘Faster ! Faster !’ ... "/L. Carroll, Through the Looking-Glass
A synthetic, very incomplete, personal and idiosyncratic overview of electric and digital technologies and their impact on music and society from the very beginnings up to day, probably already yesterday. With slides, sounds and video, an attempt to look forward leaving surely more questions than answers on our rush for the edge of tomorrow.


Tommaso Tozzi – Presentation: “L’arte delle reti dal di-segno al diss/egno”
Abstract/It is a lectur whose theme is the art of the networks. Through a series of historical examples I will to describe how in this art form the sign takes a dimension that combines aspects of representation as the direct experience of reality, and became dis / sign and encouraging cooperation and sharing.


E-cor - 3.1, improvisation for laptop ensemble
The e-cor project formed in 2012 with the goal to gather together electroacoustic musicians from the Conservatory of Latina Ottorino Respighi; subsequently the ensemble became independent, performing several times out of the academic context. They played in international music festivals: EMUfest (International Eletroacoustic MUsic FESTival Rome), Di_stanze (Goethe Institute Palermo), Festival delle arti sonore (University of Rome "Tor Vergata"), Festival "Le forme del suono"(Cons. O.Respighi Latina), Radio Vaticana, New York City Electroacoustic Music Festival, Radio Cemat. During each performance results in the creation of a new sonic composition, taking advantage both of the freedom and the expressive depth offered by electroacoustic sound manipulation. The goal is to create an acoustic space in which the listener is immersed, breaking away from reality and entering a new world of perceptions.


Vanessa Trippi* - Deaf, Dumb and Blind
[...] At first it was no more than a mere tremor... The house shook like a Dweurgarian cinder in the sieves of Niflheim. Every timber in the floor beneath my feet quivered like a suffering thing. My typewriter trembled till I could imagine that the keys were chattering of their fear. A brief moment and it was over. [...] Once more I am alone with this portentous calm. [...] I wish the throbbing in my ears would stop! It is as if mad spectral players were beating a duet upon the aching drums [...] the tattoo upon my ears has ceased and a low whisper has caught my attention... the overwhelming significance of the thing has just registered itself upon my bewildered brain... I can hear! It is not a single whispering voice, but many! [...] Unseen fingers grip me... ghost fingers that lack the physical strength to force me from my machine... [...] It is dark *** not the darkness that is part of years of blindness * * * the impenetrabile darkness of sin- steeped night *** the pitch-black darkness of Purgatory I see *** spes mea Christus! *** it is the end *** The end? Nay! It is but the blissful beginning...


Linda Tuci* - dei Destini
dei Destini is the vision of the souls in agitation before the fulfilment of their destiny. The breaths get up from the depth, almost they seem songs, they are increasingly participating with new beats, with loud changes of souls that, impatients, are rising above the inevitable. It could adapt F. Hölderlin's verse for which Destiny “was shaking, like the fire that rises in the heart of earth”.


Andrea Bui* – Missa brevis (to the unarmed man)
Time-lapse: a term denoting a technique of taking a sequence of frames to record changes that take place slowly over time. L'homme armé: a French secular song from the time of the Renaissance. It was the most popular tune used for musical settings of the Ordinary of the Mass. The Mass, a form of sacred musical composition, is a choral composition. Natural vs. Artificial time, mixing together continuously and mutually evolving while observed. Music and technology can help us to modify the streaming, but flowing inexorably.

Alessandra Panerai - La nave
THE SHIP, Multimedia Opera in three sketches freely adapted from the story "The cockroach sea" by Tommaso Landolfi, is the first in a trilogy of tales of terror that I chose to create a multimedia work that has, as its center, the female figure in relation to violence and/or death. The idea of this project, was born after reading the story of Tommaso Landolfi titled “The cockroach sea”. Beyond the originality of the writing, I’ve been captured by some images of the story, from which extracted three musical paintings and, with them, I made a short, silent, black and white film. What I wanted to show is the difficult path towards the pursuit of happiness/awareness undertaken by what Jung calls the "wild woman", understood as the powerful psychic force, instinctive and creative, too often stifled by fears, insecurities and stereotypes. Awareness is the only way to escape the torture and the black man that each one carries with herself.


Cristian Gajardo Allende - AUSTRALTOUR
the recycling is a transition from the waste material to something useful. It is this transition that makes the structure: from dream to reality (awakening), and from chaos to peace. Dream are led by charango instrument typical of the Andes, which is interrupted by the flute, is the start of the reality that takes us into the chaos of the waste! Where the other characters appear: the BOTTLE plastic and singing in Quechua, which together with the flutes will bring us back home!


Leonello Tarabella - Presentation “Collision”
The project Collisions started in 2010 and combines two very different sources of sound; the electronics of Leonello Tarabella’s digital technology and the organic drumming of Alessandro Baris. The result is a huge range of differently shaped sound landscapes, which take the audience through a musical and visual journey. This is led by Tarabella's interactive performance where he uses his bare hands to manipulate a unique sound technology developed in his computer music research, creating a spectacular interaction with images. Although the visual impact is magnificent, music and sound is Collisions’ priority. The two very different sound worlds melt together creating a mix of electronic, ambient, jazz and rock in a musical dialogue and a visual performance that fascinates the audience.


Derrick De Kerchove - Presentation “Digital art and the point-of-being”
The point-of-view was adopted and generalized during the Renaissance. In our neo-baroque digital era, touch is overtaking vision as the principle information supplier and proprioception is recovering ground. Hence the need to reassess the source of our sensation of being. Is it behind our eyes or under our skin ? Is the point-of-being a response of electricity to the point-of-view ? I would like to review some of the digital artworks that have gathered my thoughts and feelings in that direction.

Leonello Tarabella/Alessandro Baris - “Collision”
The project Collisions started in 2010 and combines two very different sources of sound; the electronics of Leonello Tarabella’s digital technology and the organic drumming of Alessandro Baris. The result is a huge range of differently shaped sound landscapes, which take the audience through a musical and visual journey. This is led by Tarabella's interactive performance where he uses his bare hands to manipulate a unique sound technology developed in his computer music research, creating a spectacular interaction with images. Although the visual impact is magnificent, music and sound is Collisions’ priority. The two very different sound worlds melt together creating a mix of electronic, ambient, jazz and rock in a musical dialogue and a visual performance that fascinates the audience.


Takuto Fukuda - Beyond the eternal chaos
Beyond the eternal chaos was composed in 2014 at IEM at die Kunstuniversität Graz in Austria. This piece was inspired by transformative phenomena between one and another. The inspiration is reflected to several levels of the piece such as changes of a prominence between flute and electronics depended on sections, transition between noise and tone in a phrase and so on.


Andrew Hill - Abstracted journeys
A playful journey through the sounds of a modern city. The work seeks to playfully explore the sonic textures present within audio recordings, transporting the listener on a surrealistic journey in sound. The sounds were recorded in external locations around Liverpool and Leicester, before being transformed, edited and montaged. Abstracted Journeys was commissioned as part of the EARS2 and was premiered in Paris at the Groupe de recherches musicales (GRM), Akousma festival, January 2013.


Sasan Bahadori Nejad* - La vita
This piece of music is experiences and emotions of a person's life. Sounds that can be heard in the life and feelings of the person that TANBOR (Iranian musical instrument) is played. Target is storytelling of the life and to instill the concept of life and also This piece tells the experiences of a person in his life with music.


Nicola Frattegiani - Blocks/Ropes water and blocks Composer: Nicola Fumo Frattegiani
Blocks.
Blocks like bulks.
Block like sound clusters moving in the empty space and turning into stones thrown into the void.
But block are also conglomerates, aggregation, union of sounds that embrace ad destroy one another until they dissipate and hurt themselves.
A messy dance rising from the silence and violently lashing down the casts, until fading out. Slowly and inexorably.
The slow dripping of water grains.
Pulverised ropes gasping.
The slow dragging of resonances.
One is entering a deformed space oscillating between concrete docks and frothy waters.
A mind port. A transit area. The dimension where opposite meet. The farewell and forsake. The docking and the discovery.
A short trip beyond the point of no return.

Andrew Hill - Perpetual motion
Perpetual Motion is a work that explores the idea of constant flux. Whether moving forward through time or about in space we are never constant. We are always moving on, marching steadily forwards. This work was inspired by and developed exclusively from materials collected from the Paternoster lift in the Attenborough tower in Leicester. The paternoster lift itself is in constant motion, the open compartments slide slowly between floors in a never ending loop, rising and falling, passing constantly in a seamless flow of perpetual motion.


Giovanna Bartolomei - Il viaggio
“A Journey ... an inner journey given by the silent awareness of the existence of something that goes far beyond what we see and hear ... the need to go beyond the boundaries imposed by the mind and psyche ... the deep selfseeking, maybe lost, but never abandoned... its development and the Human evolution that follows ... the vision and understanding of a different universe, consisting of an "All Energy" that creates those bonds "impossible" to the physical eyes with which we look ... endless projections of parallel dimensions ... this is what underlies the socalled "Astral Travel" topic of reflection of this multimedia work, where sounds and visual projections intertwine and interact with the "Dance" by a performer."

Lamberto Maffei - Presentation “Neuroscienza, arte e creatività”
"Why do some visual stimuli seem to be more interesting and exciting than others for the nervous system? Why these signs and figures have emotional value, that are so effective in stimulating the centers of emotion? What a fine connoisseur of mental functioning must be the real artist if he can find the paradigms of shapes and colors so universally effective to involve the viewer!
Obviously the attempts to answer are in most cases entirely speculative. The research in neurophysiology and neuropsychology do not offer solutions, but lay the foundation for advancing hypotheses and conjectures do to fill the gap between scientific knowledge and the visual arts.
Groped to understand the ties that bind perception and visual art is an experience of great interest, because the persuasion of being able to penetrate the profound meaning of the artwork combines the opportunity to learn something new on the functioning of the nervous system. "


Jorge Sosa - Folk Song
is a collaborative piece developed with Esther Lameneck. The piece is born from improvisation, as most of the material in the electronics was recorded by Esther during an improvisation session. Improvisation becomes the final element in the piece as well, as the performer and laptop operator improvise together transforming the sound of the tarogato in real time and reacting to each other's gestures. Folk Song is influenced by traditional Hungarian Music, which is quoted and paraphrased at various points during the piece. My goal was to develop a piece where melody, and noise coexist, and where the lines between composition and improvisation are diluted.


Paola Lopreiato - Inner Voices
This work for Video, live tarogato and fixed media was composed for Dr Esther Lamneck, Director of NYU program of Woodwind Studies and is dedicated to her. The sonority of this piece evoke spaces, silences, depth, the memory of an inner world.Images and music are strictly connected. This work for video, live instrument and fixed media consists of two elements: The first element is the recording of spots in the english countryside and at the centre of the spot there is a chimney. The sound part of fixed media is made of concrete material, is a recording of water and the bell of a rail crossing. The second element is made of different spots of people from different angles in different cities and locations. They are mostly pictures lasting few seconds. The sound part is made mostly of original sound of tarogato and of sounds of the same instrument manipulated with ring modulation, resonator, delay, granulation, reverb together with click generator. The chimney represent our inner world as a modern volcano trembles and is ready to erupt all its energy. This potentially overwhelming energy is heard in the sound of rushing water. The sweet melody made of electronic sounds represents the chant that is repeated every day by the society, the fairy tale that we were told and we want or we should believe. The live instrument is the voice of our inner world, is our willingness to defend our thoughts, to fight what they want us to believe and fight for our individuality. the musician on the stage is mixed with the video and its symbols but also with the sounds that surround her. She fights to declare what ferments and grows inside her,the creativity and freedom. She screams, until her last breath, her inner life, her freedom and creativity, trying to emerge beyond what they want us to believe or think, exceeding the common thinking and morality.


David Durant - Condensed Cry
The Condensed Cry (2004) was realized in the Electronic Music Studio at the University of South Alabama Department of Music. The piece uses for source material a recording of a young woman speaking the word cry, in English and Spanish, using a variety of inflections.


Esther Lamneck and Leonello Tarabella - Jacaranda
This performance is a result of the long standing academic and artistic collaboration between Esther Lamneck and Leonello Tarabella.
Having worked together since the mid ‘90s they have realized multimedia productions throughout Italy and in New York. In “Jacaranda” Esther Lamneck creates the tarogato material following a pre- defined storyboard. The storyboard has been realized as real-time interactive computer music/graphics as composed by Leonello Tarabella. Prof Tarabella plays the PalmDriver (PD), a gestural interface based on infra-red beam technology, which he has developed over the last fifteen years at the computerART Lab of CNR, Pisa, Italy.
The graphics have been designed using Quartz Composer. It is controlled by MIDI data sent to Quartz via an Internal Application Communication (IAC) driver. Midi stream is produced by programs written as algorithmic composition as well as from information produced by the performer’s gestures which interact with the PD device. Front projection creates an interactive and immersive dynamic scenario for both the performers.

Eric Lyon - Rock and Roll Goddess
Rock 'n Roll Goddess was created in 2001 and was first programmed on the International Computer Music Conference in Havana, 2001. The sound sources were taken from electric guitar improvisations by Seth Josel. In contrast to my usual computer compositional methods, I chose to create the work, including all sound transformations, exclusively through live performance, using the popular program Max/MSP. The central transformational instrument employed was Mushroom, an oracular sound processor, which I redesigned for live use. Oracular processes produce unpredictable results that often suggest unanticipated directions for the evolution of sounds. The final section features a process in which dynamic sounds are frozen into static snapshots that can be extended indefinitely in time.

Thomas Beverly - Ocotillo
Ocotillo for multi-percussion, seasonally variable electronics, and video
The video for this piece, captured in summer 2013, consists of time-lapse photographs depicting the extreme dynamics of the west Texas landscape. The majority of the electronics in this piece are fixed, but I also built a computer program that receives data from the McDonald Observatory in west Texas. For each performance, the software translates the temperature data from the prior day into a new layer of audio that colors the piece differently depending on the season. For example, in the summer the software generates a brighter, more vibrant sound and in the winter a darker, denser one. The temperature data is not a metaphor; rather it directly connects the visual and auditory experience with the current natural energy of west Texas.

David Durant - Bay
Bay (2005) was created using recordings of objects that had personal significance to me. These recordings were then used as the basis for samples that were used in a sampler and as manipulated sounds inserted into the mix. An analog modeling digital synthesizer was also used in the composition. The title refers to Mobile Bay on the Alabama Gulf Coast in the USA which separates Mobile County from Baldwin County. The piece was written right before and right after Hurricane Katrina struck the Gulf Coast. The piece was written for and dedicated to Esther Lamneck and the New York University New Music Ensemble.

Sylvia Pengilly - Maze
As a child, I vividly remember my parents taking me to Hampton Court, where the major attraction for me was not the palace, but the maze. We would wander through it, often taking wrong turns and having to retrace our steps, and soon were completely disoriented. Eventually we would hit on the right combination of turns and find our way to the exit, having been pleasantly scared. Later, I read the legend of Ariadne, holding a ball of thread for Theseus so that he could find his way out of the maze after slaying the Minotaur. These experiences combined to suggest the form for "Maze" which is followed by both video and music. After the title sequence, the next segment represents the entire "map" of the maze, but following this there is a series of "wrong turns," represented by the black and white segments, that lead to dead ends. These finally return to the "main path," represented by the color segments, each of which leads a little further into the heart of the maze. There, the monster appears, but is vanquished, ironically by the "wrong turns" after which the "wrong" and "right" turns are combined and presented in retrograde, forming a type of palindrome which, like all good palindromes, ends as it began.

Jorge Sosa - Stray Birds
Stray Birds is based on a poem by the Bengali writer Rabindranath Tagore (1861-1941). The ensemble improvises over a fixed track, that aims to illustrate the imagery of the poem. At the same time two soloists improvise, while their instruments are processed in real time. The performers need to listen to each other, and to react to the backtrack, to the gestures of their fellow performers and to the way that the live processing transforms their gestures. Stray Birds (1916) STRAY birds of summer come to my window to sing and fly away. And yellow leaves of autumn, which have no songs, flutter and fall there with a sigh.

Izzi Ramkissoon - Kill Switch
Kill Switch is an audio-visual composition that draws upon the idea of situations that turn out of control, blurring the lines between control and havoc into a progression towards the inevitable explosion unless avoided. The composition was created by processing live flute, cello and percussion samples then arranging them into various patterns that develop in a specific start and stop sequence. In other forms the composition can be performed with or without the live processing of instruments. Kill Switch was commissioned by flutist Sarah Carrier.