artist

SGUARDI SONORI 2004
Si dice che ‘più lontano si va sempre meno si conosce’. E’ quello che stiamo sperimentando in questi anni.  Sguardi Sonori non inventa nulla, individua alcuni incroci, segna direzioni opzionali su di una mappa instabile, propone dei punti di visione ed ascolto. Quasi dal punto di vista ‘organico’, si vuole stimolare la funzione visiva dell’ascolto. L’orecchio come occhio della mente. Non soltanto guardare suonare ma vedere il suono, non ascoltare con l’orecchio ma con la mente, ascoltare le immagini.  Dal suono alla risonanza. una precaria pista nervosa, sinaptica, che porta dall’officina di Mauro Sambo e Ignazio Lago fino alla fotografia sonora di Marco Zoi, Daniele Brocchi, Florindo Rilli e Carlo Fatigoni.  Una relazione sensoriale sguardo-visione che si enfatizza, autoalimenta, va in feed-back con Patrizia Mattioli.  Un’interfaccia tra il fisico e il virtuale, il contatto e la digitalizzazione attraverso Punck. Un’espansione come ambient/azione nell’act di Kar e Psicorunner, di Hanrich e I_Love_My_Dentist.  Una retro-visione del suono nei Moleskin.  Una radiografia dell’instabilità creativa, della frammentazione dei messaggi con Francesco Calandrino. Una politica dello sguardo e dell’ascolto nei video de Laisle.com.  Umbertide diventa un luogo dello spaesamento creativo, della dispersione ramificata, della disseminazione sensoriale. Dove si può sentire e vedere la corrente che scorre.   

Dionisio Capuano
Dionisio Capuano
Punck Sound artist , field recordist , photographer and lo fi video maker, Punck is the pseudonym chosen by Adriano Zanni, for his experimental music project. He creates his sound canvas manipulating many different kinds of acoustic, concrete and natural sources with audio editors and softwares. He participated to many experimental music festivals in Italy and nowadays he keeps to privilege live activities. During his sets he uses laptop, portable CD players, various objects,field recordings and selfmade videoclips. Among his many collateral activities, we can’t help to mention that he’s owner of Ctrl+Alt+Canc, a net-label dedicated to experimental music of all kinds that has released many works of artists such as Logoplasm, Sawako, Ernesto Rodrigues, Ovo, Sinistri and may others.
Patrizia Mattioli Musician, composer and performer, crossed many different musical territories: from classical to contemporary, from electronic and impro to music for theatre. She performed her first composition for Lenz Rifrazioni Lenz Theater (company of contemporary research among the most stringent of the European scene). Her original music were presented in several Festivals, including Venice Biennale Dance / Music, Natura Dèi Teatri, Sguardi Sonori festival of Media, Timed Based Art, Berlin, Festival Santarcangelo, Cantieri Danza, Zona Franca, Pontedera Teatri, As a Little Phenix 2. Her activity is going on both in Italy and abroad.
HANRICH is a group of electronic music active from 1999 and been born from the artistic / ideologic/musical encounter between Riccardo Orlandi and  Angelo Mazzetto  and   that   it  is  proposed  to  explore,several   the   thematic   ones   of   music  techno from  the   straight  case  to  the ambient  rarefiedpassing    through    the   sincopate  and irregular rhythmics.They   have   produced  as “Hanrich” five CD:   from   it   seeds  them ” Given to CRC Error ! ” (2000) to” Cyclamen ”   (2002)  to” Zerotre ” (2003)  moreover the collection ” The Holy Anthology”(2004) and “Tech-NO! ” (2005),all  rigorously  autoproduct in  Cdr. Format, have collaborated  moreover  with  LELE DJ (DanieleRizzati) for  ” What to fuck are we waiting for?!”(2002) and moreover Angelo as S-NiHill producein the ‘99 the Cdr “Untitled 1999″. To signal also the drawing up to two hands of  plan  CONCHbetween  this last and  Matteo  Mingardo /I Love My Dentist  for  the  production of “We Ought to Love Our Neighbours ” (2001).
I_Love_My_Dentist  Dietro la sigla I_Lovemydentist si cela Matteo Mingardo, ex(?)-batterista ed organizzatore di concerti assieme all’Associazione ‘Giacomo Spanò’, insomma agitatore culturale tra la provincia di Padova e il Polesine. Non pago di cotanta attività, Mingardo porta avanti il suo personalissimo progetto di musica-elettronica-piuttosto-minimalista. Un’attitudine ‘ambientale’ e minimalistica, più vicina all’impressionismo paesaggistico ed a suggestioni cinematografiche che non all’electronica più noiseggiante e danzereccia.
Mauro Sambo – Ignazio Lago Mauro Sambo nasce a Venezia nel 1954. E’ un videoartista e polistrumentista (sax contralto, percussioni, contrabbasso, laptop), ma se girate per youtube lo trovate anche autore delle riprese video di concerti tenuti al Teatro Fondamenta Nuove di Venezia per gente come Peter Brotzmann, Paolo Angeli, Elliott Sharp, Zeena Parkins (sul tubo l’output non è sempre eccellente, ma un certo gusto particolare lo si intravede anche da questo aspetto della sua attività), e la qualità più spiccata della sua musica (sopratutto in questo ultimo lavoro) resta la tattilità. La sua musica è impossibile da definire, stando in una terra di mezzo tra improvvisazione, arte visiva, scultura sonora. Importante è il rapporto instaurato in questi anni fra Sambo e Ignazio Lago. Lago, artista e musicista a sua volta, è il performer preferito da Sambo per la sua grande carica emotiva e per la totale sintonia che si instaura tra i due durante le “azioni”.
Francesco Calandrino vive e lavora ad Alcamo nei campi della musica di ricerca, della net-art e dell’enologia. Collabora ed ha suonato con: Lelio Giannetto, Soul-Junk, Domenico Sciajno, Helene Breschand, Liars, Jean Marc Montera, Claudio Parodi, Barbara Sansone, Nicasio Pizzolato, Chris Cutler, Amy Denio, Miriam Palma, Thomas Lehn, Jacopo Andreini, Biagio Guerrera, Fabrizio Spera, NAPPE, Elio Martusciello, Francois Sarhan, Olivier Pasquet, Hans Koch, Roberto Paci Dalo’, Stefano Zorzanello. La sua strumentazione: 2 vecchi stereo a cassette/radio, 2 walkman, varie cassette pre/post/non manipolate. Nel suo lavoro il campo d’azione e la sua fisicità in atto trasforma in “flusso” la manipolazione lo-fi del nastro magnetico, generando così una “composi(ac)tion”.
KAR / PSICORUNNER  Marco Carcasi e Adriano Scerna, sono figure di riferimento, e questa non è agiografia, della ramificata scena elettronica italiana – romana in particolare.Se si dove mappare il suono sperimentale (sarebbe la mappa di un mondo instabile e in trasformazione) li troveremmo ad attraversare brumose tundre industrial, bivaccare presso villaggi digital-tribali abbandonati. La complessità timbrica dei Kar utilizza l’elettronica come strumento di esplorazione dell’orizzonte sonoro, definendo vasti territori di cui non si arriva a vedere i confini. Il loro suono è l’ignoto che si avvicina, uno specchio scuro. Il digitale il ‘prossimo arcaico’ che ci aspetta. Ruggine fatta frequenza e vibrazione. Ma nella musica dei Kar la sensazione di esplorazione, di spostamento dello sguardo verso il tramonto tecnologico è, in realtà, un percorso introspettivo, la visione interiore, di sé, come nel film ‘Viaggio Allucinante’. Il digitale è strumento per esplorare le proprie viscere. Suono come liquido di contrasto per radiografie interiori.Insieme a loro ci sono Tiziana Lo Conte (Gronge, Goah) e Patrizia Lo Forte (Psicorunner). Di quest’ultima non possiamo non rubare parole “Credo che suoni, parole e colore quando si uniscono e si riescono a fondere si completano, arrivano dove ciascuna di queste forme espressive non potrebbe giungere senza l’ausilio dell’altra”. Come si diceva…
SGUARDI SONORI 2007

American Sound Art on the Italian peninsula
Last summer, I woke up in Carlo Fatigoni ’s countryside home in the hills of Umbria. Over espresso, we asked ourselves, “What if we staged a festival of media and time-based art in Italy?” I also asked “How could I contribute by showcasing North American artists that I have followed, presented and played with in recent years?” Drawing largely on the roster of artists that I presented at GASP Gallery in Brookline, we soon began to formulate the present festival. The result is the Sguardi Sonori festival that premieres this summer in Roma, Benevento, Torino, Venezia and Siena. Our exploration of 21st century sonic arts in the United States inevitably led to the work of minimalist composer and intermedia artist Phill Niblock. Now in his 70s, he has led the way for three generations of sonic artists. His use of thick, loud drones, filled with microtonal gestures create a unique omnipresent ambience, much like Giotto’s omnipresent Blue in the Scroveni Chapel in Padova. Rome is an ideal city to hear the work of electro-diva Pamela Z. Through the use of interactive technologies, Z single handedly creates polyphonic vocal works in real-time, providing a unique opportunity to reflect on the rich traditions of vocal music that blossomed in Rome over the centuries. Much like Rome, Hollywood fostered an unparalleled community of artists and artisans that collectively built center pieces of culture. For Sguardi Sonori, Los Angeles based composer Gary Chang appropriated the tools of the entertainment industry and repurposed them for use in sonic mediations for the Templar church in San Galgano, Siena. Amnon Wolman immigrated to the US from Israel and soon established himself as a protagonist in New York. His investigation of the nature of temporal relations in music led to a series of sound performances and installations that blend artistic wit and scientific inquiry in a mode that is reminiscent of Piero della Francesca. I first heard Chicago based Olivia Block’s work when I presented her Rhime and Glaze at Berklee College of Music in Boston. This work examined the vast distance between silence and tonality, seemingly retracing the birth of sonic arts. The work did in sound what Luigi Russolo’s Futurist Manifesto did in words. Europe has long been a haven for the finest artists from the US. Stephen Piccolo (working closely with Gak Sato) and John Duncan developed much of their most important work outside of the mother land, in much the same way as American jazz musicians thrived in Europe in the mid-20th century. Their work is evidence that the uniquely American approach to sonic arts continues to thrive and endure in the 21st century, all over the world.  Neil Leonard Sguardi Sonori 2007, Music Director/Curator Director, Sonic Arts @ GASP Associate Professor, Berklee College of Music Indianapolis, Indiana, May 2007
Olivia Block is a contemporary composer and sound artist who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. Her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. In the process, “organic” sound becomes subtly processed, digitized and abstracted; “inorganic” sound becomes self-replicating and animate;and “musical” elements such as chamber instruments are defamiliarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound.Her trilogy of recorded solo compositions, which includes Pure Gaze (Sedimental, 1998), Mobius Fuse (Sedimental,2001), and most recently Change Ringing (cut, 2005), has garnered national critical acclaim. Julian Cowley,of The Wire, described her as “a composer who demands serious attention.”Pitchfork Media called Mobius Fuse one of the best CDs of the 1990s. Each of the three releases has been included on several ‘top releases of the year’lists. She has also received favorable attention for her collaborative compositions.Her latest solo recording, Heave To (Sedimental, 2006) has been lauded as “a new apex in her career ” by critic Peter Margasak. Olivia consistently performs in festivals and tours throughout Europe, America, and Japan,including Dissonanze, and Angelica (Italy), Sonic Light (Netherlands),London Musicians Collective music festival, Archipel (Switzerland), and many others. She has recently completed a stint as 2006 composer-in-residence at Mills College in Oakland, CA,presenting works for two large ensembles and wind sextet at the final concert.In live situations, she often works with musicians who play both scored and improvised material while Block accompanies the musicians with live electronics. Recently her solo performances have featured the use of prepared piano and electronics. Block has expanded her work to include video,which she occasionally includes in her live performances, accompanying images with live textural sounds including amplified natural objects, and acoustic instruments. She has also continued composing larger works for new music and chamber ensembles. Improvisers and composers she works with include Kyle Bruckmann, Ernst Karel, Jeb Bishop, Adam Sonderberg, Carol Genetti, Seth Nehil, and John Grzinich among numerous others.Block has created sound installations for public sites and exhibitions spaces including the Museum of Contemporary Art in Chicago,The Betty Rhymer Gallery at the School of the Art Institute of Chicago and the Lincoln Conservatory Fern Room in Chicago.One of her speaker installations has recently been featured in the “Echoes Through the Mountains” exhibit at the 2006 Winter Olympics in Turin, Italy.Her sound installations are created for multiple speakers,and are designed specifically for each exhibition space or public site. In public spaces her installations are often intended to subtly augment the existing sound environment. Feature articles and interviews have been published about her in The Chicago Reader, The Chicago Tribune, Blow Up magazine,The Sound Projector, and in web publications such as PerfectSoundForever.com as well as others.
Gary Chang was born on 22 February 1953, Minneapolis,Minnesota. American composer of Chinese heritage who pioneered work with synthesizers. Chang’s early career was as a keyboardist, synth programmer and arranger, and during the late 1970s and early 80s he worked extensively with pop artists such as Robbie Robertson, Al Jarreau, Weather Report,Herbie Hancock, Giorgio Moroder, Tom Jones and Barbra Streisand. He made his film music debut in 1985, assisting David Foster with his score for the Brat Pack classic “The Breakfast Club”, and quickly became established as a reliable synth composer, alongside contemporaries such as Sylvester Levay, Jan Hammer, Jonathan Elias and Harold Faltermeyer. The following year, Chang initiated the most fruitful composerdirector collaboration of his career, with John Frankenheimer on “52 Pick-up” (1985). Chang and Frankenheimer would work together on seven further films, including “The Burning Season”(1994) and “The Island of Dr. Moreau” (1996), and completed “Path to War”(2002) just months before the director’s death. Other notable works by Chang include “The House of Usher” (1988),”Death Warrant” (1990), “Under Siege” (1992), “Sniper” (1993), “The Substitute” (1996), “Double Team” (1997) and the Stephen King miniseries “Rose Red” (2002).Filmography: English as a Second Language (2005), Left Behind: World at War (2005), Sam’s Lake (2005), The Triangle (2005), Stephen King’s Kingdom Hospital (2004), The Diary of Ellen Rimbauer (2003), Rush of Fear (2003), Word of Honor (2003), Path to War (2002), Sniper II (2002), Stephen King’s Rose Red (2002), Kat (2001),The Crossing (2000), Range of Motion (2000), Runaway Virus (2000), A Vision of Murder: The Story of Donielle (2000), At the Mercy of a Stranger (1999),Locked in Silence (1999), Stephen King’s Storm of the Century (1999),Blackout Effect (1998), A Bright Shining Lie (1998), Mind Games (1998),Silencing Mary (1998), A Soldier’s Sweetheart (1998), Andersonville (1997), Bad Day on the Block (1997), Double Team (1997), George Wallace (1997), The Limbic Region (1997),Murder Live! (1997), The Twilight Man (1997), The Island of Dr. Moreau (1996), Twisted Desire (1996), The Substitute (1996), The Walking Dead (1995), Avenging Angel (1995),Fatherland (1994), Nowhere to Hide (1994), The Burning Season (1994),Against the Wall (1994), Deep Red (1994), F.T.W. (1994), Full Eclipse (1993), Sniper (1993), Double Deception (1993), The Last Hit (1993),Shadow of a Stranger (1992), Under Siege (1992), The Nightman (1992), In the Line of Duty: Siege at Marion (1992), Murder in New Hampshire: The Pamela Wojas Smart Story (1991), The Perfect Weapon (1991), Donor (1990), Death Warrant (1990), 83 Hours ‘Til Dawn (1990), A Killer Among Us (1990), Miami Blues (1990), Rising Son (1990), A Shock to the System (1990),Dead-Bang (1989), The House of Usher (1988), Sticky Fingers (1988), 3:15 (1986), 52 Pick-Up (1986),Firewalker (1986), The Breakfast Club (1985).
John Duncan was born in 1953 in Wichita, Kansas. Since 2001,Duncan has been releasing his records through his own label Allquestions. The label is based in Italy. Over the years,Duncan has worked on many rewarding collaborations: ‘Incoming’ with Christoph Heemann, ‘Contact’ with Andrew McKenzie (of the Hafler Trio),and most recently ‘Da Sich Die Machtgier’ with Asmus Tietchens. Other than on his own label, Duncan has released records on labels such as Touch, Staalplaat, Die Stadt and Heemann’s own Streamline label.Further releases followed, such as music for a series of Japanese porno films, titled The John See Soundtracks,plus Riot, Incoming, The Crackling, Tap Internal, Palace of Mind, and NAV,among others. He began in the 1980s with cassettes such as Riot (AQM,1984 – Dark Vinyl, 1990), a pioneering white-noise work made in Japan, Gain (AQM, 1985), Dark Market Broadcast (Cause & Effect, 1985 – Staalplaat,1990), another wall of noise, Contact (Touch, 1990). The double-CD River in Flames/ Klaar (Staalplaat, 1994) was the first major work (and still one of the most powerful), followed by Send (Touch, 1994), Incoming (Streamline,1995) and The Crackling (Trente oiseaux,1996), possibly his masterpiece.Home Unspeakable (Trente oiseaux, 1996), a collaboration with Bernhard Gunter, The John See Soundtracks (RRRecords, 1997), films that he assembled in Japan and focused on sexuality (e.g., female orgasms and male breathing), Seek (Staalplaat,1998) were typical of the excessive work load of the composer. Tap Internal (Touch, 2000), and Palace Of Mind (Allquestions, 2001), a collaboration with mathematician Giuliana Stefani, were more thoughtful and complex.The double CD Nav (Allquestions,2001), a split with Francisco Lopez, and Fresh (Allquestions, 2002), containing Nav-Flex and Trinity performed by a Swiss ensemble, revisited old concepts.Phantom Broadcast (Allquestions, 2002), yet another work for shortwave radio, and one of his best, and Infrasound – Tidal (Allquestions, 2003), which harks back to musique concrete of the 1950s, are not particularly original. The Scattering (Edition, 2004) is a collaboration with Peter Fleur. Stun Shelter (All Questions, 2004) mixes two apocalyptic installations, one by Duncan and one by C.M. Von Hausswolff. Tongue (All Questions, 2004), a collaboration between John Duncan and Elliott Sharp, is musique concrete with a soul, as the two manipulate and reprocess sounds produced by their mouths. Presence (Allquestions, 2004), a collaboration between John Duncan and vocalist Edward Lewis (former bassist of Wire) is another work that focuses on manipulation of the human voice. John See Soundtracks (RRR, 2004) uses as source material the soundtracks to some pornographic films that he made in Japan in the early 1980s.Conservatory (San Sebastiano, 2005) was a collaboration with Italian multimedia artist Paolo Parisi. Nine Suggestions (All Questions, 2006) was a collaboration with Nordic glitch musicians Mika Vainio and Ilpo Vaisanen of Pan Sonic. Our Telluric Conversation (23five, 2006) is the second collaboration with Carl-Michael von Hausswolff, devoted to abstract soundsculpting and vocal manipulation.
Neil Leonard is one of the most inventive and adventuresome artist in new music today. Leonard’s work has ranged from traditional jazz performance, solo concerts for saxophone and electronics, collaborations with top Cuban musicians, works for orchestra as well as sound and music for dance, theater, performance and installation. Leonard’s collaborative work with visual artist Maria Magdalena Campos-Pons was featured by the 49th Venice Biennial, Museum of Modern Art (NYC), purchased by the National Gallery of Canada and presented by the U.S. State Department at Dakar Biennial. Leonard composed the music for Relatives, by Tony Oursler and Constance DeJong that was featured by the Whitney Biennial and the ICA (Boston). His ensemble and collective projects featured Marshall Allen, Bruce Barth, Don Byron, Uri Caine, Kenwood Dennard, Robin Eubanks, Frank Lacy, Oriente Lopez, Rudresh Mahanthappa, Badal Roy, Jamaaladeen Tacuma. Leonard’s “Dreaming of an Island”, (for orchestra, electronics and live-video) was premiered by the Indianapolis Chamber Orchestra. Leonard’s composition Totems was premiered at Carnegie Hall by Byron and Caine. Leonard’s “Echoes and Footsteps” was featured by the Tel Aviv Biennial for New Music, Issue Project Room (NYC) and the Auditorium di Roma. Leonard performed and recorded with Afrocuba, Marshall Allen, Victor Bailey, Guillermo Barretto, Boston Ballet, Bruce Barth, Hiram Bullock, Don Byron, Uri Caine, Vic Chesnutt, Dominique Eade, Kevin Eubanks, Robin Eubanks Bill Frisell, Leroy Jenkins, Vijay Iyer, Howard Johnson, Orlando ‘Cachaito’ Lopez (Buena Vista Social Club), Rudresh Mahanthappa, Joe Maneri, John Medeski, Butch Morris, Phill Niblock, Don Patterson, Odean Pope, Todd Rundgren, Dave Samuels, Marvin “Smitty” Smith, Lew Soloff, Steve Swallow, Jamaaladeen Tacuma, David Thomas (Pere Ubu), Mark Whitfield, Phil Wilson, Evan Ziporyn. Leonard collaborated with visual artists for performances and installations in the MoMA, Whitney Biennial and Venice Biennial. He is co-founder of GASP Gallery in Boston. Leonard is a professor of Electronic Production and Design at Berklee College of Music and the artistic director of Berklee’s Interdisciplinary Arts Institute. In 2011, Leonard received Berklee’s Distinguished Faculty Award, along with Joanne Brackeen and Greg Hopkins. Leonard holds a bachelor’s degree in Jazz Performance and a Masters in of Music degree from new England Conservatory of Music where he studied with George Russell, Bob Brookmeyer, Michael Gandolfi and Joe Allard.
Phill Niblock is an intermedia artist using music, film, photography,video and computers. He makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performancespace.Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time. He was born in Indiana in 1933. Since the mid-60′s he has been making music and intermedia performances which have been shown at numerous venues around the world among which: The Museum of Modern Art; The Wadsworth Atheneum; the Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Brussels; Institute of Contemporary Art, London; Akademie d e r K u n s t e , B e r l i n ; Z K M ;Carpenter Center for the Visual Arts at Harvard;World Music Institute at Merkin  Hall NYC. Since 1985, he has been the director of the Experimental Intermedia Foundation in New York http://www.experimentalintermedia.or g/  where he has been an artist/member since 1968. He is the producer of Music and Intermedia presentations at EI since 1973 (about 1000 performances) and the curator of EI’s XI Records label. In 1993 he was part of the formation of an Experimental Intermedia organization in Gent, Belgium – EI v.z.w. Gent – which supports an artistin- residence house and installations there. Phill Niblock’s music is available on the XI, Moikai, Mode and Touch labels. A DVD of films and music is available on the Extreme label.
Katherine Liberovskaya is a Canadian video and media artist based in Montreal and New York. She has been working predominantly in experimental video since the late eighties. Over the years, she has produced manysinglechannel videos, video installation works and video performances which have been presented at a wide variety of artistic venues and events around the world among which: Diapason Gallery,NY, Netmage, Bologna, MUU Gallery, Helsinki,Bunkier Sztuki National Gal l er y,Kra kow,M’ARSGal l er y, Moscow,Gallery 21, St-Petersburg, Gallery Ssamzie, Seoul, Stazione di Topolo – Postaja Topolove, Italy, Institute for Transacoustic Research (Iftaf),Vienna, Balazs Bela Studio, Budapest, ISEA 2004, Helsinki, The Subtropics Experimental Music Festival, Miami, Images, Toronto, FCMM, Montreal, Osnabruck European Media Art Festival, VIPER, Basel, offline@online Media Art Festival, Tallin,Wroclaw, VideoMedeja Festival, Novi Sad, Mass Cultura, Lisbon, Les instants video de Manosque, France… As of recent years her work mainly revolves around collaborations with new music composers/sound artists, notably Phill Niblock, Al Margolis/If, Bwana and David Watson. In 2003 she began exploring live video mixing, using MAX/MSP and Jitter, in improvisation with live new music/sound. Since, she has performed at a variety of venues in NY, Montreal and Europe with a number of music/sound artists including:o.blaat, Margarida Garcia, Barry Weisblat,Vortex (Satoshi Takeishi +Shoko Nagai), Mary Halvorson, Hans Tammen, Anthony Coleman, Toshio Kajiwara,Shelley Hirsch.
Pamela Z is a San Francisco-based composer/performer and media artist who works primarily with voice, live electronic processing, sampling technology, and video. A pioneer of live digital looping techniques, she creates solo works combining experimental extended vocal techniques, operatic bel canto, found objects, text, digital processing, and MIDI controllers that allow her to manipulate sound with physical gestures. In addition to her solo work, she has composed and recorded scores for dance, theatre, film, and new music chamber ensembles. Her large-scale multi-media works have been presented at venues including Theater Artaud and ODC in SanFrancisco, and The Kitchen in New York, and her media works have been presented in exhibitions at the Whitney Museum (NY) , the Diözesanmuseum (Cologne), and the Krannert Art Museum (IL). Her multi-media opera Wunderkabinet – inspired by the Museum of Jurassic Technology (co-composed with Matthew Brubeck) has been presented at The LAB Gallery (San Francisco), REDCAT (Disney Hall, Los Angeles), and Open Ears Festival, Toronto. Pamela Z has toured extensively throughout the US, Europe, and Japan. She has performed in numerous festivals including Bang on a Can at Lincoln Center (New York), Interlink (Japan), Other Minds (San Francisco), La Biennale di Venezia (Italy), and Pina Bausch Tanztheater Festival (Wuppertal, Germany). She is the recipient of numerous awards including a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award in the Arts, The MAP Fund, the ASCAP Music Award, an Ars Electronica honorable mention, and the NEA and Japan/US Friendship Commission Fellowship. She holds a music degree from the University of Colorado at Boulder. For more information visit www.pamelaz.com 
Steve Piccolo born 1954 New Hampshire USA. Now lives in Milan, Italy. Began professional career in early 1970s playing standup bass in jazz groups. Toward the end of the Seventies he founded,together with John and Evan Lurie, Arto Lindsay and Tony Fier,the group The Lounge Lizards. Work with artists and designers: recent projects with Luca Pancrazzi (DE-ABC), Adrian Paci, Gabrielle Di Matteo, A Constructed World, Ivo Bonacorsi, Isola Art Center (Bert Theis) and many others. Recent concerts, installations,projects: Swiss Cultural Center, Milan; Palazzo delle Papesse, Siena; Berlin Jazz Festival; Sardinia Arte Fiera; Technical Breakdown,Copenhagen; Live performance at Battiti, Radio RAI 3; one-hour composition for WPS1 – MoMA NY at Venice Biennale; artist-in-residence at Turchin Center for the Arts, Boone NC (April 2006); installation with DE-ABC at Kettle’s Yard, Cambridge,England.Vocals with Elliott Sharp at Venice Music Biennial, 2006. Choral projects at Milan Triennale, 2006 and Babelfest in Bellinzona,Switzerland, 2006. Now in fifth year of Sound Design course at Accademica Carrara (Bergamo). Previous experience in workshopseminars at Milan Polytechnic and Venice IUAV. Teaches Sound Design course at NABA in Milan starting in 2005.
Gak Sato was born in Tokyo in 1969. In 1994 he created the band Diet Music in Tokyo. In 1999 he became Artistic Director of TEMPOSPHERE, the contemporary music label of Right Tempo Records in Milan. Gak has participated on various remix projects (Easy Tempo Experience) with the Easy Tempo label (which reissues and remixes Italian soundtracks of the 60s and 70s). Successes include remixes of compositions by some of the greatest Italian masters of film music such as Piero Umiliani, Armando Trovajoli, Piero Piccioni and Lesiman (Motore a Ioni, Mah Nà Mah Nà, Lady Magnolia, all composed by Umiliani, Masquerade by rovajoli).Gak Sato’s live performances include the Tangram Tour with Steve Piccolo and Pepe Ragonese joining him in a live trio with video (2002 in Portugal, London, Monte Carlo, Italy) and evenings together with turntable masters like Gilles Peterson, Rainer Trüby, Pizzicato Five, Kid Loco and many others.He also performs in Steve Piccolo’s Expedition concerts on programming, keyboards, theremin and percussion, and is co-producer of the new Expedition CD. He has worked with Steve Piccolo on sound art installations in  collaboration with leading visual artists and photographers. Since 2002 he is professor of Techniques of Sound in Art at the Accademia Carrara fine arts academy of Bergamo. He is participating in the John Cage tribute “A Year from Cage”, a one-year series of events and performances organized by MMT and Auditorium. Recent collaborations include projects in New York and France, galleryperformances , radioshows .
Duprass is liora belford and ido govrin their mutual artworks have been exhibited in: tel-aviv museum of art (israel/palestine) / ‘laptopia’ art exhibitions series (israel/palestine) / haifa museum of art (israel/palestine) / the biennale for contemporary art (israel/palestine) / experimental intermedia festival (usa) / tal esther gallery (israel/palestine) / c-sides festival (germany/israel/palestine) / the melkweg theater (the netherlands) / barcelona film festival (catalonia/spain) / ‘omanut laam’ exhibition (israel/palestine) / museum for polydimensional research (usa) / ‘hearat shulaim’ art event (israel/palestine) / letto gallery (poland) / festival international cinéma méditerranéen (france) / art film festival (slovakia) / museum of vojvodina (serbia) / cccb (catalonia/spain) / petach tikva museum (israel/palestine) / dislocate festival (japan) / bat-yam museum for contemporary art (israel/palestine) / barbur gallery (israel/palestine) and many more…they are also running the record label interval recordings which was established in 2004. the label publishes experimental music and curates international art by several annual events primarily the ‘laptopia’ art exhibition.
Amnon Wolman (born 1955) composes music and texts for miscellaneous instruments along with the computer. He holds a doctorate degree in music composition. His catalogue of compositions includes works involving computer generated and processed sounds, symphonic works, vocal and chamber pieces for different ensembles, film music, and music for theater and dance. His recently premiered pieces include “Picnic Site” used for a choreography by Trisha Brown and Steve Paxton for the Lyon Biannale; “End Divided Road” for Flute and electronics for Mario Carolli at the TRAIETTORIE Festival in Parma, Italy; “Cruising Prohibited when Lights Flashing” for the Gay Gotham Chorus at the Greenwich House, New York; and “and her mind moves upon silence”, for harpsichord and electronic sounds, for Vivienne Spiteri in Toronto, Canada.His list of awards includes the Queens’ 2000 International Competition at the Queen’s College, Oxford and an Honorary Mention at the Musica Nova Competition in Prague, Czech Republic. He was also a finalist at the first Ars Electronica, Linz, finalist at the Karl Sczuka Prize, and awarded the First Prize at the NewComp International Competition ’88. He received grants from the Eastman Foundation, Arts International, the Dutch Government, America-Israel Culture Foundation, the Rockefeller Foundation, the Djerassi Foundation, Meet the Composer, and the MacDowell and Yaddo Foundations. He was commissioned for Heinz Holliger, Charles Neidich, Ursula Oppens, Harry Sparnaay, Benny Sluchin, Ensemble Modern, and the Israel Chamber Orchestra among others. His scores are published by the Israel Music Institute and the Israel Music Center. Before Joining the faculty at Brooklyn College he taught at Northwestern University, Tel Aviv University, Stanford University and the University of California, Berkeley. At Brooklyn College he was a member of the composition faculty and Director of the Brooklyn College Center for Computer Music (BC-CCM). Mr. Wolman’s film music was featured at the London, Sydney, Los Angeles (1981, 2001), the San Francisco Film Festivals (’93) Berlin Film Festival (’81), Pop Sustainability Film Festival, Seattle Underground Film Festival], Chicago Underground Film Festival (Gold Medal), CineVegas, Columbus International Film Festival (2000) (Bronze Medal) and at the Chicago Film Festival (’82, ’92).In May 2006 Mr. Wolman moved back to Israel with his partner Eyal Levinson and their animals. He currently teaches in Israel.
Ignazio Lago (born 1966) lives and works walks on the rivers of the brenta elaborates installations visions actions manipulates guitars tapes tools tralci of screw and humans short history never istoriata in 1983 co-founder of the anarc-noisist musical collective “circle angulaire” in 1989 founds the “epilog film” small house of cine-productions in 1992 co-founder of “ottomat” place of not orthodox creative actions in 1993 forms together to the brothers paul and giò the group no-rock “ginapajo” in the same deep year “muriki records” in 1995 founds the “globular movement for the interinale anarchy” constituted from an only subject and thousands of water particles in 1998 accorpa to muriki records epilog the film forming the “epimur film” in 1999 shape together to Gabriele Grotto the group protofolk “macario’ s stutter” in 2000 constitute the collective “mai(l) art” near the artistic grammar school boccioni in the agno valley in the same year megaphone in Italy of the plan “save the star project” of father lucio voratti in support of the international stars band aid in 2004 founds with tiziana pretto the skeleton crew “menadito” independent and creative laboratory in the same year mades the publishing plan “menadito fanziignazio.
Alessandro Pintus is a dancer and choreographer, he is member of a new generation of young italian Butoh dancers. He started to explore Butoh dance since 1996 as an evolution of a theatrical research. He trained in Europe and Japan with the most representative Japanese masters such as, Ko Murobushi, Masaki Iwana,Min Tanaka, Kazuo and Yoshito Ohno,Akira Kasai, Akiko Motofuji, Tadashi Endo, Hisako Horikawa. He has also studied and worked with some European contemporary dancers such as Lindsay Kemp, Dominique Dupuy,Pierpaolo Koss, and Enzo Cosimi. His development and experience as a performer has lead him to work with many different artists.·1999 group performance “June 31st”, directed by Min Tanaka, at Teatro Vascello in Rome ·2000 performance “ButohExperience”,directed by Masaki Iwana at Teatro Furio Camillo in Rome ·In 2001 he collaborates with the Scottish dance company Metacorpus, for the performance “Sound and Suspension” at the St. Bride’s Centre of Edinburgh ·2003 dance and horse riding performance”Oros. Primo racconto Mediterraneo”, at the Basilica of St.Pietro in Tuscania, Viterbo. Together with the horse rider Francesco Caponetti and his horse “Brio”.Original music Carlo Fatigoni ·2004 group performance “Nijinsky: mistica e follia del corpo eccedente”,with the italian company “Orma Fluens”·2005 duet performance “Senso Unico” together with the Catalan dancer Maria Montseny Rodrì, for a dance review in Barcelona, at the “Centre Cultural Cardedeu”·In 2006 group performance  “Baccanalia” with “Ludi Scaenici” company,for “Tarrago Viva Festival” in Tarragona, Catalunya ·2007 performance “N”, for the Butoh dance review “Trasform’azioni” in Rome, for the performing art festival “Piantati” in Brescia, and for the dance review “Body Shot” in Rome. Original music Gabriele Quirici, Perceptual DefenceIn the past years he has matured a personal research whichhas took him towards his own roots,rediscovered in the island of Sardinia.Taking this responsibility he was able to meet a more authentic work and to contextualize his Butoh dance research.He has realized a series of solos,some of which introduced in dance reviews and Italian festival. Such as a trilogy of solos called “S’Ard” dedicated to his homeland.He is currently running an intense didactic activity all around Italy, in particular in Rome, leading the dance laboratory: “Attraverso il Butoh”, where he teaches his methods of dance research, and encourage the dance of young Italian dancer. Together with them he realize a number of performance.He is also the founder , since 2001, of “NON Company” a network of ‘artist-dancers’ with the common aim of pursuing the deep meaning of Butoh and of the body in the present day.In 2004 he was the protagonist of a TV documentary “Performer”, on the digital channel Cult Nertwork, about his work and in particular about the realization of the performance “Oros. Primo racconto mediterraneo”, film director Alberto D’onofrio, DNA Production.In the summer 2006 he collaborates with the Japanese photographer Eikoh Hosoe for the Toscana Photo Festival in Massa Marittima.
Morena Tamborrino – vocal performer – da anni conduce una ricerca sulle possibilità espressive della voce umana preferendo indagare tutto quanto ha preceduto la formulazione di tecniche di canto o di recitazione. Non si è però sottratta allo studio della tecniche classiche relative alla voce guidata dal M° Bruno de Franceschi. Coltivando con grande disciplina una distanza sufficiente a non cadere nelle maglie comode del già fatto e del già sentito, esplora con consapevolezza matematico-bestiale i territori del recitarcantando.  Pioniera nella formulazione della “Tecnica del Recitato Timbrico” sotto la direzione del M° G. Tamborrino, comporrà la partitura vocale del monologo “ Dì Joe” di S. Beckett, che è oggetto di studio e riflessione su scala nazionale da parte di esperti di musica e teatro: M. Baroni, R. Dalmonte, M. Marino, E. Girardi, L. Cosso, E. Napoletano G. Guccini; proprio a quest’ultimo si deve il saggio: “Le opere senza canto. Drammaturgie e ricerche alla confluenza dei teatri”, Bologna, CLUEB, 1998, dove scriverà di questo felice tentativo di scardinare i luoghi comuni del teatro musicale classico. Studierà con la coreografa M. Lucenti la “Tecnica del Canto in Movimento” , indagando in tal modo le diverse possibilità di portare la voce parlata e cantata in un corpo danzante. E’ stata a scuola di: Danio Manfredini, Raffaella Giordano, Gabriella Bartolomei, Mariangela Gualtieri, Dino Viani, Carlo Fatigoni.  Ha lavorato con registi quali: Giorgio Barberio Corsetti, Geraud Didier, Cesare Ronconi, Fabio Cherstich, Alessandro Berti. E’ ospite con John De Leo e Mariangela Gualtieri nel CD “13 piccoli singoli radiofonici” degli AIDORU.  Compone ed esegue dal vivo la partitura vocale e testuale di ogni sua performance. Sempre è rigorosamente accompagnata in scena da uno o più musicisti, siano essi classici o elettronici.  Gravita nei luoghi non espressamente deputati al teatro (gallerie d’arte, spazi museali, giardini storici, castelli etc..) che ha concepito come luoghi franchi per realizzare connubi tra diverse discipline artistiche. Sempre affascinata dal mondo dell’arte visuale, collabora da anni con un collettivo che fa capo a “Sguardi Sonori – festival of media and time based art”. Le sue ultime ricerche vertono sull’indagine delle possibili relazioni tra la musica ottenuta al pc per sintesi granulare, l’improvvisazione vocale e di partitura fisica, la videoarte. Voce del Nucleo Theatron Ensemble è coinvolta come attrice e cantante nello spettacolo: “La città di Pietra” – regia di Giorgio Barberio Corsetti e Geraud Didier – lavoro dedicato alla città di Matera e ad una sua possibile quanto improbabile genesi. Il 3 settembre 2011 a Matera, presso il Chiostro delle Monacelle, è stato presentato in forma concertistica il CD: “La città di pietra” – musiche di scena originali composte da Gianfranco Tedeschi e Loredana Paolicelli.  Vive e  lavora  a Roma.
The CardioTest born in 2006, like an open situation with two heads, Carlo Fatigoni and Dionisio Capuano..Carlo Fatigoni have an experience as a multimedia artist, he moves between visual art and sculptures with many materials like wood, ceramic, paint and photograph, videoart and digital sound Dionisio Capuano comes from an experience of “no musician” began in the 80th and after interrupted and irregular activities in visual art (paint,collage).He’s interested to the direct sound manipulated, founded objects, sound in low fidelity ( tapes utilised until their distruction, manual recorders over the use.The first time of their production/action is essentially connected to the musician Neil Leonard. In the summer 2006 CarDioTest performed with Neil producing an act of improv. sound near electro-jazz maximalist. Actually they are working to some actions/performances like ‘F(l)ood’, a dinner/installation where on the prepared table are screened floods images in the lands of the third world. In the occasion of Sguardi Sonori 2007 they are preparing a multimedia project together the painter Fathi Hassan, the butoh dancer Alessandro Pintus and the experimental vocal lyrics Morena Tamborrino.
SGUARDI SONORI 2008

Turn up the Volume:The Audio Archive and Ways of Listening
Sguardi Sonori presentation at Discoteca di Stato and the Center for American Studies Rome, Italy June 27, 2008
By Neil Leonard

This year’s edition of Sguardi Sonori is hosted, in part, by Discoteca di Stato (DDS), an extensive archive and study center dedicated to the preservation of sonic memory. The archive houses tens of thousands of hours of sound from around the world, with an emphasis on the unique sonic culture of Italy, including music, political speeches, and ambient sound of social events.In this venue, Scanner (Robin Rimbaud), Kim Cascone, and I will present a concert of live electronics works. The personal collections of sounds we each work and tour with mirror DDS’s comprehensive collection. In our case, however, the collections are not the final product or center of discourse, but rather, raw material that we process to generate new works. I was introduced to Scanner’s early work by my students at the School of the Museum of Fine Arts, Boston, in the early 1990′s. They were fascinated by Scanner’s inventive recycling of disposable sounds from police scanners, which he collected for his early compositions – and from which he adopted his stage name, Scanner. His use of the disembodied voices and electronic noises, produced by scanning devices, did much to focus our critical discussion on the writings of Luigi Russolo and Filippo Tommaso Marinetti, and on the work of Marcel Duchamp, whose readymade sculptures of the early 20th century strongly suggested that sonic equivalents were just a matter of time. Mining the airwaves, Scanner built an important body of work that changed to reflect the character of each location in which he eavesdropped. While John Cage explored similar ideas of appropriated broadcast and sound maps in his Imaginary Landscape No. 4 (1951) for 12 radios, digital technology handed Scanner the means to create realtime sound-maps that include the most private transmissions.Like Scanner, Cascone has spent years constructing a sonic archive that fuels his current performances. Cascone’s work draws on a vast collection of sounds he created with hardware and software synthesizers. He builds home-brew software to navigate this repository in concert. After recycling and mixing these sounds algorithmically, to create a meta-soundscape, Cascone remixes them again on stage.Cascone’s work epitomizes the extent to which new technologies are continually reshaping the ways we listen to, and work with, audio. In his recent Spectral Space, for example, Cascone uses indeterminacy to mimic the media overload that surrounds us. The work examines our ability to assimilate and decode this dense, omnipresent chorus of disembodied sound that has nothing to say, and yet, dominates our cultural soundscape.The result is a non-narrative performance in which Cascone finds “tangles of sounds that glint, shimmer, collide and implode within the fabric of noise.” My own sonic archive has a distinct component of field recordings I collected while I was living in Italy for much of 2006. The sounds range from recordings of ancient Lazio ritual, that Dr. Massimo Pistacchi, Director of DDS, generously shared with me to recordings I made of Jannis Kounellis’s installation (located at La Marrana, the private estate for environmental art in La Spezia) to my recordings of Padovan a cappella groups –comprised of workers from the open marketplace whose voices are quickly being replaced by the homogenous din of broadcast media. With the aid of computer processing, I have extracted, exaggerated and juxtaposed aspects of these keynote sounds to create a personal sonic statement.My recent Italian commissions provided opportunities to leverage these sounds in three large scale works, including a permanent installation on the top of a mountain overlooking the Ligurian Sea,in a surround audio installation in the remains of the Templar church, Chiesa San Galgano, and most recently, as part of a 400-meter installation in the porticos of Padova’s historic district. These works explore the colliding sonic identities of new and old worlds and the relationship of the visitor to local histories.Our short residency at Discoteca di Stato and the Center for American Studies provides several ways to reconsider the audio archive as an essential resource for 21st century art and examine how technological is changing the way we listen to and create sound works.
Neil Leonard Boston
Director, Sonic Arts @ GASP
Professor, Berklee College of Music May 2008
Elio Martusciello  was born in Naples in 1959, Elio Martusciello is a self taught musician and composer. He teaches electronic music and electroacoustics composition in the classes of degree music and new technology at the conservatory of Cagliari. He has worked with musicians such as Eugene Chadbourne, Mathieu Chamagne, Mike Cooper, Alvin Curran, Michel Doneda, Wolfgang Fuchs, Tim Hodgkinson, Thomas Lehn, Jean-Marc Montera, Jérôme Noetinger, Richard Nunns, Tony Oxley, Evan Parker, Michael Thieke, Olivier Toulemonde, Z’EV, and others. He is a founding member of IATO (musicians collectives), IXEM (Italian eXperimental Electronic Music) and Bowindo (experimental italian label founded with Giuseppe Ielasi, Domenico Sciajno, Alessandro Bosetti, Valerio Tricoli and Renato Rinaldi). He is a regular member of the improvising group Ossatura (with Fabrizio Spera and Luca Venitucci), of the interactive duo Schismophonia (with Mike Cooper), and of the new electroacoustic group Bindou ensemble (with Ana-Maria Avram, Chris Cutler, Rhodri Davies, Iancu Dumitrescu and Tim Hodgkinson).
Fabrizio Spera Since the end of the eighties Fabrizio Spera is active as musician and organizer in the field of experimental music with a special interest in free improvisation. He played and collaborated with, among others: Mike Cooper, Peter Kowald, Wolfgang Fuchs, Otomo Yoshihide, Jon Rose, Tim Hodgkinson, Thomas Lehn, Jean Marc Montera, Tom Cora, Elio Martusciello, Conrad Bauer, Tristan Honsinger, Werner Ludi, John Butcher, John Edwards, Ab Baars, Rhodri Davies, Marc Wastell, Lol Coxhill, Chris Cutler, Mario Schiano, Giancarlo Schiaffini, Guido Mazzon, Sebi Tramontana, Martin Tétreault, Michel Doneda, Jérome Noetinger, Burkhard Beins Saadet Turkoz, Hans Koch, Martin Schuetz, Larry Ochs, Lisle Ellis, Wadada Leo Smith. Some of his current groups are Ossatura; Blast with Dirk Bruinsma, Frank Crjins, Paed Conca; Viktoria Frey (H. Eisler songs) with Sabina Meyer, Lauro Rossi, Fabrizio Puglisi; Lingua Wolfgang Fuchs with Thomas Lehn, Trio with John Butcher and John Edwards, RARA ensemble; Di Terra, trio with Alberto Braida and Lisle Ellis. He played in festivals like: Controindicazioni (Rome, Italy), London Musician’s Collective (London, UK), Europa Jazz Festival (Noci, Italy), Musique Actuelle (Victoriaville, Québec), Angelica (Bologna, Italiy), Musique Action (Vandœuvre-lès-Nancy, France), Jazzhaus Festival (Cologne, Germany), Synthese (Bourges, France), Musique Innovatrices (Saint-Étienne, France), Humannoise Congress (Wiesbaden, Germany), Tampere Jazz Happenings (Tampere, Finland), Alternativa (Prague, Hungary), Fruits de Mhere (Mhere, France), Total Music Meeting (Berlin, Germany), Yokohama Jazz promenade (Yokohama, Japan), Nits de Musica (Barcelona, Spain), Ring Ring (Belgrade, Serbia), Mix 02 (Århus, Denmark), Densité (Fresnes en Woevre, France), November Music (Ghent, Belgium).
Steve Buchanan: musician dancer, composer,guitar, alto sax, electric tap dance, Born Philadelphia,United States. Early studies include Pat Martino, Marshall Allen, Elliott Levin, Bonny Zankel.First performance in 1974. Formed first group ILTAR in 1976. Member of TAKA-I-KI saxophone quartet .1976-79:Move to NYC. in 1979. Collaborations with Fred Frith, Bill Laswell, Ray Anderson, Mark Dresser, Ellen Christie and other member of downtown scene. IN 1980 Dance studies commence (african,afro cuban, moderne and ballet) 1981 Performed first solo show, participates in Derek Baileys Company in collaboration with Min Tanaka .1982-1986 Mostly dancing with JU-JU Dance Ensemble, movement studies with Milford Graves. 1987-1989 Solo tours in Usa/Canada. coolaborations with Ron Anderson, Amy Denio, Fred Frith, Remy Leclerc, Chris Cochrane, Zeena Parkins, Tom Cora, etc. 1989-1991 Tours Europe ,Usa solo METAL EATER duo in various combinations Jim Meneses,Guy Bettini, Ken Yamazaki, Pavel Fajt, Martin Schutz, Hans Koch. Formed POSITIVE NUNS with Jim Meneses and Dirk Bruinsma (BLAST). In 1992 Moves to Europe, touring extensively as well as playing many festivals.Touring with POSITIVE NUNS and collaborations with Carlos Actis Dato, Fabrizio Spera, Gianni Gebbia, Elliott Sharp, Frank Craijns, Tim Hodgkinson. Collaborations with Martin Slawek, Elke Utermohlen. Mark Liebskind. Dirk Bruinsma. 2001 Makes 2 CD audio 3 videos performs INLEM FESTIVAL BARCELONA SOLO. Tours Spain with group IMERICANI. 4 Performance of MIND THE GAP THEATER, L’USINE GENEVA. 2002 Tours Spain 4 days of concerts at L’AMR GENEVA including collaborations with Dirk Bruinsma, Helen Calle-Lin, Herve Provini, Mark Sanders, and Claude Jordan.
Paed Conca He was member of SO NICHT with Dani Lieder of Alboth! Co-founder of OTOLITHEN with Dirk Bruinsma Member of BLAST with Dirk Bruinsma, Frank Crijns and Fabrizio Spera Co-founder of LITHE HED with D.J. Kev the Head and Dirk Bruinsma Co-founder of BEST BEFORE.., a trio with Bruno Meillier and Dominique Lentin Works also solo under the artist name CLEEE Also founder of the CLEEE-SEPTET with Martin Schuetz, Patricia Wydmer, Madleine Bischof, Margrit Rieben, Thomas K.J.Meier and Dirk Bruinsma Co-founder of TSUKI with Hans Koch and Margrit Rieben Co-founder of Lefthead with Edward Capel).He worked writing music for theatre, filmproductions and small ensembles.As improvising musician involved in projects with people like Bart Maris, Ottomo Yoshide, Noeel Akchote, Matt Wand, Jason Kahn, Koji Asano, Bruno Meillier, Jim Meneses, Stephan Wittwer, Steve Buchanan, Dorothea Schuerch,Saadet Tuerkoez, Kato Hideki, Werner Luedi, Michael Wertmueller, Kido Natsuki, Masashi Kitamura, Katsui Yuji, Margrit Rieben, Yoko Miura, Hans Koch, John Edwards, Martin Schuetz and others.He did tours in Poland, Italy, Austria, Holland, Belgium, Russia, Japan etc. etc. He performed on fetivals like:Untiteld Festival in Den Bosch (NL), Kykart Festival in St. Petersburg, Audio Art Festival in Krakau, Reve de Gier Fetival in France, Rumor Festival in Utrecht (NL), Novembermusic 2003 etc. etc.
Kim Cascone (December 21, 1955, in Albion, Michigan) is an American composer of electronic music who is best known for his releases in the ambient, industrial and electro-acoustic genre on his own record company, Silent Records. Cascone studied electronic music at Berklee College of Music, Boston, Massachusetts, audio engineering at Institute of Audio Research, New York City, New York and electronic theory at the RCA Institute New York City, New York. Afterwards he started his career working as an electronic technician for audio companies such as Crumar Synthesizers, Eventide, Hyde Street Studios and Orban Associates throughout the 1980s. In 1983 he moved to San Francisco, California to pursue a career in music and audio. In the late 1989 Cascone became as assistant music editor for director David Lynch on Twin Peaks and Wild At Heart and worked in various editorial capacities at Saul Zaentz Film Center and at Skywalker Ranch. He founded Silent Records in 1986, then later Pulsoniq Distribution, Furnace Records, Flask Records, Sulphur Records and went on to release many albums under the moniker PGR (short for Poison Gas Research). He has used various aliases over the years but became best known under the moniker Heavenly Music Corporation, a name taken from a track on the record No Pussyfooting by Brian Eno and Robert Fripp. Cascone released four full albums under this name from 1993 to 1996. His third Heavenly Music Corporation album, Lunar Phase (1995), was featured on St.GIGA radio, the Japanese ambient radio station whose name became the title of the longest song on this album.In 1996 Cascone sold Silent Records and Pulsoniq Distribution to work as a sound designer/composer for Thomas Dolby’s company Headspace. After Headpsace Cascone went on to serve as the Director of Content for Staccato Systems, a spin-off company from CCRMA, Stanford University where he helped develop an algorithm for realistic audio atmospheres and backgrounds for video games. He returned to making music in 1998 and has since been releasing records using his own name on various labels as well as his own label, anechoic (named after his last Heavenly Music Corporation release), which he established in 1996. Cascone has released more than 40 albums of electronic music since 1984 and has recorded/performed with Merzbow, Keith Rowe, Tony Conrad, Scanner, John Tilbury, Domenico Sciajno and Pauline Oliveros among others. Cascone has also written articles and papers for academic journals and media magazines such as Computer Music Journal, Artbyte, Contemporary Music Review, Soundcultures, Parachute Journal, Junk Jet, Geometer and Zehar. He is best known for the groundbreaking paper titled The Aesthetics of Failure which outlined the use of digital glitches and systemic failure in the creation of post-digital and laptop music and is read by many students in digital media university courses.Lately, Cascone has turned his attention to the issue of anthropogenic noise in ocean environments and has developed a sound art festival called Hydrophonia which has taken place in Genoa, Italy, San Sebastian, Spain and Barcelona, Spain. The festival incorporates performances by sound artists working with hydrophones as well as speakers on bioacoustics and anthropogenic noise, and workshops on construction of hydrophones.Cascone has been a student of the Schillinger System of composition since 2009.Cascone has a wife, Kathleen (b. 1959), and a son, Cage (b. 1993), named after John Cage.
Robin Rimbaud aka Scanner (born in 1964 in Southfields, London) is an electronic musician who works under the name Scanner due to his use of cell phone and police scanners in live performance. He is also a member of the band Githead with Wire’s Colin Newman and Malka Spigel and Max Franken from Minimal Compact. Rimbaud is also a writer and media critic[citation needed], multi-media artist and record producer. He borrowed his stage name from the device he used in his early recordings, picking up indeterminate radio and mobile phone signals in the airwaves and using them as an instrument in his compositions.Growing up, Scanner was interested in avant garde literature, cinema and music. When he was a teenager his family was bereaved when his father was killed in a motorcycle accident.[1] He attended Kingston University in Surrey, earning a degree in Modern Arts (BA). There, he formed a musical project The Rimbaud Brothers with fellow student Tony Rimbaud, releasing cassette editions in the early 1980s, later becoming Dau Al Set with the addition of Chris Staley.He released Peyrere compilation cassette album in 1986, featuring the work of Nurse with Wound, Derek Jarman, Current 93, Coil and Test Dept. That same year, he composed the soundtrack to a short film A Horse with No Name, directed by Phil Viner, shown at the London Film Festival. In 1989, he was commissioned to contribute to the Cultural Icons publication (Bloomsbury) edited by James Park, writing many articles on contemporary art, literature, music and dance. His debut Scanner CD was released in 1992 on Ash International, a subsidiary label of London’s Touch Music label. He continued to produce the first dozen releases with Mike Harding of Touch, including Scanner², Mass Observation, Blind, and Runaway Train, a real-time recording of the captivating radio contact between Alfie, controller of the line and Wesley, the driver of a runaway train. Location: New Brunswick, Canada, recorded 9 March 1948.In 1994, he pioneered one of the first webzines, in the very early days of the internet, I/O/D, in collaboration with Matthew Fuller and Graham Harwood. In 1998, he presented Surface Noise on a London bus, commissioned by Artangel, and won the Imaginaria 99 Award for Digital Arts, ICA London the following year. He re-soundtracked Jean-Luc Godard’s Alphaville movie in a series of performances around the world, whilst playfully presenting 16 concerts in one evening using a series of Scanner look-alikes to perform in his absence. For 2003, he installed a permanent installation in Raymond Poincaré hospital in Garches, France as part of the bereavement suite Channel of Flight.[2] In 2004, Tate Modern commissioned Sound Surface in collaboration with Stephen Vitiello as their first sonic arts work. In the same year, he composed Europa 25, an alternative National Anthem for Europe that was freely distributed via 10,000 CDs and a website. He has continued to collaborate with classical musicians – Michael Nyman for Ars Electronica in Linz, Austria, Musique Nouvelles in Belgium for their ‘Play Along’ collaborative string quartet, and opera singer Patricia Rozario for a new untitled work in 2007. From 1994-2000, he set up and “curated” The Electronic Lounge music club at London’s ICA, where these monthly sessions presented nights of music in a social environment. Nights included presentations with the record companies Warp Records, Irdial, Ninja Tune, Touch, Mego, Leaf Records and many others.Since 2000 he has featured on BBC Radio 4, as a commentator on issues relating to popular music on a number of occasions.Working with choreographer Wayne McGregor, he created Nemesis for Random Dance in 2002, Detritus for Ballet Rambert in 2003, and Qualia for the Royal Ballet in 2004. He continues to work with dance, with new works for Shobana Jeyasingh and Siobhan Davies in 2007. In 2006 he created the sound for Merce Cunningham’s E:vent at London’s Barbican theatre. In 2006, he created Night Haunts, a monthly online artwork, working with writer Sukhdev Sandhu and designers Mind Unit. He sound-designed Aitan Errusi’s new British horror film Reverb. In 2007 he soundtracked British filmmaker Steve McQueen’s film installation Gravesend, at the 52nd Venice Biennial.In 2008 he was President of Honour at the Qwartz Music Awards in Paris, and scored the musical comedy Kirikou & Karaba in Paris, which was later released on DVD (EMI). He premiered his six hour performance show, Of Air and Eye at the Royal Opera House London in late 2008, and sound-designed the new Philips Wake-Up Light with Philips Electronics in NL, a lamp to wake you up with natural light and sound.In 2009 He showed Atlantida, an HD film installation at the Canary Islands Biennial, created in collaboration with filmmaker Olga Mink. In the summer of 2009 he composed the soundtrack to the opening ceremony of the World Swimming Championships in Rome, broadcast in 164 countries, and soundtracked the new Samburg Corby telephone campaign in Italy.In 2005, he was a contributing curator ‘J’en rêve’ at Fondation Cartier Paris, and in 2006, jointly curated the video art exhibition ‘Mobile’ at Espace Landowski Paris.His BBC radio production of Jean Cocteau’s The Human Voice won the Prix Marulic Award and recently, he won First Prize Neptun Water Prize for his installation Wishing Well in Austria, in collaboration with Austrian artist Katarina Matiasek. In 1998, he became ‘Professor Scanner’ at John Moores University in Liverpool. In 2009 he became Visiting Professor at University College Falmouth UK, and Visiting Professor at Le Fresnoy National Centre for Contemporary Arts in Tourcoing France.He is a Contributing Editor of kultureflash.net, a London centric e-zine which goes out weekly via HTML email to 27,000+ subscribers.He recently contributed a chapter to Sound Unbound: Sampling Digital Music and Culture (The MIT Press, 2008) edited by Paul D. Miller a.k.a. DJ Spooky. In 2010 Rimbaud working with The Post Modern Jazz Quartet on Blink of an Eye with a very subtle touch, embedding his sounds into those of the New York jazz ensemble seamlessly as critics observed.
Paolo Angeli Born in 1970, he started to play guitar when he was 9. He grew up in Palau, an extremely stimulating musical environment. The guitar and the voice of his father, his first mentor, the autobus with the drums, the chicken, the melons, the ‘diroccati’ rock groups in an old carpentry, the experiences with concerts in the squares and carnival evenings, they all directed him towards a sailing without stylistic barriers in the world of music. After he obtained his Nautical Diploma, in 1989 he moved to Bologna. It was during the 1990 university occupation that the Laboratorio di Musica & Immagine was born: a colourful ensemble of 14 musicians who, by unblocking the barriers among musical genres and by practising collective composition and improvisation, started becoming famous in the main European festivals of innovation music.Suspended between the camera post-rock of Mistress, the duo with Stefano Zorzanello, the improvisation with Jon Rose, the realization of the opera Pacifica with Fred Frith, the choir at Tasgia, the Serbian dances Diamant Brin and Trabant, he started playing the tube with the Banda Roncati, the extraordinary experience of social music. In the same period he was among the founding members of the popular music school Ivan Illich and the independent label Erosha. On 1993, he was fulgurated by the encounter with Giovanni Scanu, the old guitar player from Sardinia, who died at the age of 95 and from whom he learnt the forms and the modules of the ‘canto a chitarra gallurese e logudorese’. From this ‘fighting meeting’ between extra-cultivated avant-garde and popular tradition came his Sardinian prepared-guitar: an orchestra-instrument with 18 cords, an hybrid between guitar, baritone, violoncello and drums, gifted with hammers, pedals, some propellers at variable speed. With this singular instrument, constructed by the craftsman Francesco Concas, Paolo elaborates, improvises and composes unclassifiable music, suspended between free jazz, folk noise and minimal pop.In 1995, he released his visionary album Dove dormono gli autobus, (played live on 1997 by the band Fraìli). In 1997, he won the competition Posada Jazz Project and recorded Linee di fuga, the first work with his modified guitar. In 2003, he published Bucato, the synthesis of four years of concerts all over Europe, a live ‘Solo’ CD produced by the English label ReR. Then, he started touring in Canada and the United States, a period of tournées immortalized by the live publications Mede e Drawing Circle. In the same year, on request by Pat Metheny, he started the project of a new model of his Sardinian prepared guitar; in the Liuteria Stanzani it was two guitars that were born, one of which was adopted by the American musician. In 2005, for ReR, he realized Nita, l’angelo sul trapezio, an imaginary sound track as a result of the participation of most of the musicians belonging to the Bologna creative scene. Nita represents a synthesis of the creativity of the collectives and the freshness of the traditional Sardinian music. In 2005 Paolo moved to Barcelona. 2007 opens with the eclectic Tessuti (ReR) a solo project devoted to the compositions of Fred Frith and Björk, with the live vinyl Andature Portanti (Wallace Records).It follows a pearl in his production: the dualdisc (DVD/CD), based on a photographic reportage of the prepared Sardinian guitar, realized by Nanni Angeli and sonorized live in ‘Solo’ with a music suite which includes new compositions and tracks taken from the preceding albums. The work can be defined as  the most important synthesis created by Paolo on the prepared Sardinian guitar, with a avant-garde mixing in 5.1 and with a relation to the image taking us back to the works of LM&I.Among his artistic collaborations, it is to be remembered the projects with Fred Frith (duo, quartet, Tessitura), the duo Antonello Salis (Ma.Ri Auand 2003), the duo with Hamid Drake (Uotha Nubop 2005), the trio with Evan Parker and Ned Rottemberg (Free zone Appleby 2007); the avant-pop duo with Takumi Fukushima (Itsunomanika ReR 2011), the POG Trio – Piccola Orchestra Gagarin, with Sasha Agranov, cello, and Uriol Roca, drums – (Platos Combinados, WAJ/ALU 2011). Since 2009 the collaboration with Salis and Drake took on the formula Trio, and in 2010 it was born the quartet that includes Gavino Murgia (Giornale di Bordo, Egea – Sard disc 2011). Among the remaining traces, Paolo continues to play with his travel companions Alberto Masala, Stefano Zorzanello and Riccardo Pittau.Paolo Angeli has a degree in Ethnomusicology at DAMS, Bologna. From 1997, he has been collaborating with ISRE at the constitution of Archivio Mario Cervo (the most important collection of sardinian records and traditional music). As a researcher, he has published Canto in Re, a volume of historical analysis of the ‘Canto a Chitarra’, accompanied by 4 CDs with recordings dated from 1930 to 1967. With Nanni Angeli, he is the artistic director of Isole che parlano, a international arts festival suspended between innovation and tradition taking place in Palau since 1996.Paolo plays live more than 50 concerts for year in Europe, Usa, Canada, Russian, Brasil. He plays and records for Radio Rai Tre, Radio Rai due, BBC 3, NPR (Usa), Bayerisher Rundfunk, continuously performing in festival, galleries, theatres, and avant-jazz clubs.He improvised and collaborated with Pat Metheny, Fred Frith, Jon Rose, Otomo Yoshide, Antonello Salis, Hamid Drake, Evan Parker, Ned Rothemberg, Takumi Fukushima, Zeena Parkins, Nuno Rebelo, Lukas Simonis, Andy Ex, Verian Weston, Robert Dick, Lukas Ligeti, Phillip Greenlief, Shoko Hikage, Alex MacSween, Gino Robair, Tim Perkins, Frank Schulte, Carlo Actis Dato, Gianni Gebbia, Alberto Masala, Audrey Chen, Mike Evans, Neil Feather, Katt Ernandez, Dan Breen, Janet Fader, Camel Zekri. He has also played with the conduction of Elliot Sharp, Butch Morris, Giancarlo Schiaffini, Fred Frith.
Roberto Fega Born in 1965, Roberto Fega plays tenor/soprano sax, bass clarinet and samplers. Always interested in expressive and devoted-to-research artistic forms, he played with Cervello a Sonagli and Circ.A and is currently playing with IATO and IXEM. He started his musical adventure with the Avant-garde-Rock group Dura Figura. He participated in a laboratory-seminar by Tim Hodgkinson (Henry Cow, The Work) on improvisation that opened up into an open collective of improvisation. Afterwards, he participated in a workshop by the musicians Amy Denio, Jessica Lurie, L Soybelman and the cartoonist D Zezelj. He collaborated with P. Angeli in the Fraili project, the live version of P. Angeli’s CD Dove dormono gli autobus , participating in some festivals and a concerto that went live nation-wide on Radio RAI 3. Collaboration in the CD of the Roman Solar Ledge, with the dancer L. Benfenati, Amy Denio, with P. Innarella realising the duet that goes by the title Timbuctu. He is a member of the Titubanda, a brass band engaged politically and goliardically, is a member of the multimedia collective Arturo which is already seen in some theatre festivals (Mittlefest and Cortona) together with musicians M. Cooper, L. Venitucci (Ossatura), Zar Alekzander Caric, E. Vatteroni, Memoria Zero, A. Sordi, the Dance company of Travirovese and the actresses F. Santoro, L. Barletti and D. Giannetti. He is a member of the electronic improvisation and electro-acoustic trio Taxonomy with Elio Martusciello and Graziano Lella, of a video-musical improvisation trio with Matteo Bennici and Luca Tanzini. He collaborates with group Solar Orchestra. (We are what we play, for CNI label).
TERVISEX “DADA KONTROL MACHINE” The TERVISEX is an underground dadanoise collective made by artists&musicians coming from Estonia. The  Dada Kontrol Machine, their crazy performance-tour, consists of an enormous paperboard box, inside which the TERVISEX, masked with carton boxes and workers suites, play an exhausting “free dadanoise” bad trip: performing delirious, strictly improvised music with differents instruments, toy live electronics and everything producing noise interferences. The audience attend to the show from a particular, odd point of view: once alone manipulating sounds effects, once watching from little holes done on the big box, or passing through a narrow and dangerous tunnel, or just on a video screen.. TERVISEX shows set up paranoid, hysterical representation of everydays life through a surrealistic way: the family, the psychiatric hospital, a war set, the office…
Luca Sigurtà was born in Biella, Italy, in 1976. Due to his passion for field-recordings and found sounds, he approached experimental music during the late 90s.In 1999-2000 he made his debut with three self-released EPs which were soon followed by “La Sindrome di Stoccolma” (The Stockholm Syndrome), a work distributed by S’Agita Recordings.In 2002 he started his collaboration with director Manuele Cecconello. Their interesting multimedia CD-Rom entitled “Terre” was released in a 100 copies limited edition. Luca Sigurtà also created many soundtracks for Cecconello’s short movies, which are often showed during his live sets based on laptop abuse, multiple portable CD players and other electronic gadgets.He took part to some exhibitions in Biella presenting some of installations and creating soundtracks. His regular live activities include twin laptop-sets with long time friend and collaborator Fhievel. His music has also recently appeared on theme compilations relesead by Deterrent Industries, Aleatory and Homemade Avantgarde. Along with Patrizia Oliva (formerly a member of Allun) he is part of the electronic/impro duo Macaya. His latest full lenght work entitled “La Vera Macchina D’Argento” (…or “The Real Silver Machine”, if you prefer…) was co-released as a friendly joint-venture between Afe Records and S’Agita Recordings in June 2004. “Pocket Progressive”, a collaborative work recorded with Claudio Rocchetti and Fhievel, was released on CD by the portuguese label Creative Sources Recordings in February 2005. In late 2005, along with Tommaso Clerico he founded the weird noise band Harshcore.
SGUARDI SONORI 2009 Berlino 91 mq gallery

 Working Week is a contemporary art event that will take place at  91mQ ART PROJECT SPACE in Berlin, Germany organized by FaticArt Cultural Association in Italy , composed of Italian artists. Working Week  is a community of Italian artists who possess a strong creator energy  and although operating within different espressive means, are united by an innovated spirit in both their work and  course of action.. Their main desire is to communicate a state of uncertainess typical of our times, first of all the artist himself, today , forced in a limited space of his own: he moves alone in the fields of human condition, personal reference and personal economics, poorly supported as well as constrained in a spiral of indifference that is a mirror of an unjust society.Working Week is a result of one week’s work of an energetic community of artists, eternal tightrope walkers who “camp out in the art territory” who, starting out with the desire, individual/ not individual, express all their own personal human resources and the want to “get back” at the world (the art world not being the last one) bulimic with their answers and anorexic in the content. .Faticart Association headed by  Carlo Fatigoni  organizes events in the field of contemporary art. Since 2004  Fatigoni is the curator of Sguardi Sonori Festival of media and Time Based Art that presents international artists in the fields of  soundart, videoart,  performance and visual art,  all expressed through digital media. Faticart as well coordinates projects of netart . Carlo Fatigoni  
The event organized by FaticArt Association  The space 91mQ ART PROJECT SPACE of Berlin is operated by two Italian artists:  Marco Giani and Elena Bellantoni.
Marko Batista exploring moving images and digital sound environments.
Matteo Brozzi, a young artist who expresses his painting with strong expressive impact
Angelo Cruciani  art that is both angelic and at the same time violent, simbolic and conceptual
Carlo Fatigoni  on the border between  sound image and visual installation
Catholic Mosquito are involved in multimedia projects, music and art.
Fathi Hassan  painter with ancestral roots strongly linked to the Mediterranean culture
Manami N. people say her style is half experimental and half pop; it is like “future pop”
Patrizia Mattioli  composer of elettronic music who, for years collaborates with theater, dance, visual arts
Mikaele Pellegrino currently has a solo project in which he plays guitar, sampler and oscillator.
Alessandro Petrolati  cSound Designer,  pianist, composer of digital music
Antonella Pintus aka Anna Bolena italian multimedia artist who lives in Berlin
Alessandro Pintus performer and Butoh dancer already internationally known
Florindo Rilli photographer who presents an installation  “frontiere biologiche”
Santifolli performers with strong emotional and visual impact
Tervisex musical group from Estonia who live in Italy, performing a surreal live act
Marilena Vita multimedial artist specializing in videoart
Dino Viani independent filmaker with work of anthropoligical content.
Marco Zoi  young artist who utilizes photographic media for controversial and ironic images.
MANAMI N  Living as an office lady in Tokyo, MANAM N has been making music by computer since 1998. She didn’t promote herself for a while, just focused on creating sound. But she got chances to release CDs, then started to have interested in showing her music in front of people, especially otside of japan. She says “If I’m a baseball player, I will try to play in US. But I’m a musician and wanted to try something for my music in Europe because I gor some influence from them.” In 2006 she threw away her office job and moved to Berlin. Already made lots of performance. People say her style is half experimental and half pop; it is like “future pop”…nobody knows but guesses it might be next generation of pop music. She works as a solo performer and as a member of the band called “Kamomellia” since 1999. This band started with Kenji Yamazaki who is expert of game music in Japan. As Kamomellia, 2 of their songs featured in game software “S.L.A.I.” for Playstation 2 in 2005. Their danceable, high quality sounds got lots of attentions from game lovers.
Marko Batista is Ljubljana based tech-mixed-media artist, sound researcher, video experimentalist and AV performer, born in Tito’s Yugoslavia. Batista focuses on themes such as displaced sound-scapes, video transformation processes, networking data, collaboration, linking concepts, hybrid spaces, politics of art and other fields of contemporary media art. Graduated from Academy of Fine Arts in Ljubljana and finished Master of Arts degree from Central Saint Martins in London. Marko Batista is a founding member of experimental multimedia group Klon:Art:Resistance. In 2003 he collaborated on a project for 50th LA BIENNALE DI VENEZIA: VV2 <Recycling the Future>. His works have been presented at ARS ELECTRONICA-Featured Art Scene in 2008, 10th INTERNATIONAL ISTANBUL BIENNIAL, BIX Facade KUNSTHAUS GRAZ, Cellsbutton#3-Indonesia, VIENNABIENNALE 2008, ELECTRONIC CHURCH Berlin, CCA Glasgow, SLOWTIME 2007, Museum of Modern Art-Ljubljana, PIXXELPOINT 2005, 15th International Festival of Computer Arts-Maribor, ZERO Gallery/TRANSMEDIALE.10-Berlin, SHARE FESTIVAL, LAB 30, HAIP#10…
Catholic Mosquito Creating, buzzing and holiness of man forms. Italogerma-nomad extended duo based in Stuttgart Germany. The members are Reverend Man Manly (nomad), Ben Presto (nomad) and Splithead (resident alien). They are involved in multimedia projects, music and art. They play/ed in many bands and impro-groups such as Kabelkot, Man Manly, Church of Noise, Larsen Lombriki, I Placca, Tervisex, Huck, Essighaus, Marzan, Cyco Sanchez Super Group, The Frayed End, Dear Friends, Sumpfpaepste, etc. flickr http://www.flickr.com/photos/manmanly/
http://churchofnoise.dyndns.org/tiki-index.php?page=HomePage
http://churchofnoise.dyndns.org/tiki-blog_rss.php?blogId=1&ver=2
http://www.youtube.com/manmanly
http://www.last.fm/user/manmanly/
southern germany experimental scene forum
http://groups.myspace.com/germanynoise
http://www.myspace.com/manmanly
http://uk.youtube.com/user/manmanly/
mailing list/forum
ANTONELLA PINTUS aka ANNA BOLENA (born in SASSARI (I) the 7th of December 1970) Musician, producer, writer and videomaker has taken part in several music and video international festivals. Interested about innovations and challenges, she
 runs the music and video production IDROSCALO DIGITALE. She has a degree in psychology and a Master in NLP and Communication and lives in Berlin since 2004.
Mikaele Pellegrino
 Mikaele Pellegrino was born in Rome in 1974. He begins studying guitar as a self-taught (then with Giorgio Mazza and Garrison Fewell) and violin with Diego Conti. He started performing improvised music since 2002, then he did a series of workshop with Evan Parker, Fred Van Hove, Wolfgang Fuchs and Phil Minton. He works with Dean Bowman in the project nexus -Exhaustive PowerFunk Quartet-, which is its founder. He currently has a solo project in which he plays guitar, sampler and oscillator. He lives and works in Berlin.
Dino Viani has been working for 20 years as film maker, his works have been presented all over the world in festivals and cinematografic exhibitions , collecting awards and mentions.Among these, a personal retrospective in Saint Petersburg ( russia) in 2007; 52° Biennale di Venezia, 100 days of permanent conference dedicated to J. Beuyes 2007, a german artist. In these years of activity he has produced more than 20 fims and documentary, short, medium and lenght – movie. His aesthetic choise, brought him out of circuit of production, since 2 years he has moved his work in Berlin. MyCinema Cinemais the world mirror; the water of the well where as children , we reflected ourselves without fear and with surprise, where, for the first time, we have seen our image appear and desappear , profetic prelude of our life and dead. I make cinema as an archaeologist , looking for fragments of disappeared cultures; everyday I dig in the face of man to understand where we lost our way , forgetting what we shouldn’t have forget. One frame has the same value of a plug of a mosaic that, togheter with the others, create a fragment, an life hypothesis. To put together 24 frame means to rewrite a trace of time, a second of eternity.I remember the moment in wich the cover of the coffin was closed on the face of my grandfather, that’s dead: the moment in which  dark  appropiates of our body , forever .
SGUARDI SONORI 2009 
I had just ended up rehearsals for “Canone inverso” at Rome Auditorium last 28th December as the violinist Marco Quaranta came and introduced me to a friend of his,an Aerospace Engineer wishing to talk to me about his own impossible project. In front of me was Sandro Cecchi, illustrating me an idea conceived by Neil Leonard as he played at the State Discotheque during the Festival SGUARDI SONORI 2008. << Sandro, why don’t we make a concert for Space from Space? You work in that branch and are acquainted with many astronauts.What about? >>, suggested the Boston Berklee College Professor. Sandro talked about it with Carlo Fatigoni, organizing SGUARDI SONORI and with his astronaut friend Roberto Vittori, and they decided to involve me in their “Mission Impossible”.I had already realised the Soundtrack for the film “Mission to Mars” by Brian De Palma and Soundtrack for the film “Mission to Mars” by Brian De Palma and the idea to make a concert involving the atronauts in orbit to send a peace and a brotherhood message from Space to the world immediately encountered my enthusiasm. I met Sandro, Carlo and Roberto and we had a long discussion on how the event should develop: an astronaut like an orchestra soloist of “Concert for Astronaut and Orchestra” with short interventions of Space sounds and noise introduced in the score thought never dominating over music. The fruit of that prep Angelo Cruciani  art that is both angelic and at the same time violent, simbolic and conceptualspan style=”color: #000000;”aration process shall be presented during the festival Sguardi Sonori 2009 presumably on 20th july in Rome, /spanPiazza del Popolo in the occasion on the 40th Moon-landing anniversary replayed on 25th September in Frascati during the event Frascati Scienza. No better celebration could be planned for a project of the sort. To perform the concert from Space we are waiting for Roberto to be in orbit, thought june 2010 is quite around the corner.          Ennio Morricone

Space as Music,
between “Science and Art”“Technology and Imagination”. “Space” represents, or rather is a symbol for Science and Technology. In fact,when talking about “Space” all technologies are involved, which since 1957 have been leading to an incredible revolution where satellite systems are used for various applications, both in Telecommunications and in Navigation, Earth Observation, without forgetting the incredible results obtained in Scientific Research through probes and satellites.Maybe the first steps toward such results are to be searched for in the imagination efforts of Leonardo who proposed ideas and drawings of men Flying like birds, a salso in the fancy of Jules Verne who projected the human beings outside the atmosphere, a common basis for ideas which have brought to the scientific and technological discoveries that followed. The same strength with which Space adventures synthesise Art and Science,Technology and Imagination, so does Music, starting from instruments fruit of Technology, connecting complex mathematic equations which describe the behaviour of wave forms, to attain an artistic product and leave space to imagination. Art turn sto Science and Imagination turn sto Technology. One night under the stars.That is the mood of our INFINITE SPACES Preview whose rehearsals are scheduled to be held next 20th July in Rome, Piazza del Popolo, which we wish to perform under the direction of Maestro Ennio Morricone during my next Space mission.
Roberto Vittori

Ennio Morricone was born in Rome on 10.11.1928. His long artistic career includes a wide range of composition genres, from absolute music, which he has always produced, to applied music, working as orchestrator as well as conductor in the recording field, and then as a composer for theatre, radio and cinema.  In 1946 Ennio received his trumpet diploma and in 1947 he was engaged as composer for theatre music.  In 1953 he made his first arrangement for a series of evening radio shows.  In 1954 he received his diploma in Composition at the Conservatory under the guidance of Goffredo Petrassi. In 1958 he obtained a job at RAI (Italian Television) as music assistant, but he resigned on the first day of work.  His career as film music composer started in 1961 with the film “Il Federale” directed by Luciano Salce, but he became famous worldwide with Sergio Leone’s westerns: A Fistful Of Dollars (1964),For A Few Dollars More(1965), The Good, The Bad And The Ugly (1966), Once Upon A Time In The West (1968)and A Fistful Of Dynamite (1971).  In 1965 Morricone entered the group of improvisation “Nuova Consonanza”;  in 1984, he and other composers founded the I.R.TE.M. (Institute Of Research For Musical Theatre) in Rome.  Since 1960, Morricone has scored over 400 films working with many Italian and international directors (among whom Sergio Leone, Gillo Pontecorvo, Pier Paolo Pasolini, Bernardo Bertolucci, Giuliano Montaldo, Lina Wertmuller, Giuseppe Tornatore, Brian De Palma, Roman Polanski, Warren Beatty, Adrian Lyne, Oliver Stone, Margarethe Von Trotta, Henry Verneuil, Pedro Almodovar and Roland Joffè). His most famous films include: The Battle Of Algiers; Sacco and Vanzetti; Cinema Paradiso; The Legend Of 1900, Malena; The Untouchables, Once Upon A Time In America; The Mission and U-Turn. His absolute music production includes over 100 pieces composed since 1946 to this day. Here are some titles: Concerto per orchestra 1 (1957); Frammenti di Eros (1985); Rag in Frantumi (1986); Cantata per L’Europa (1988); UT, per tromba, archi e percussioni (1991); Ombra di Lontana Presenza (1997); Voci dal Silenzio (2002); Sicilo ed altri Frammenti (2006); Vuoto di Anima Piena (2008).  Ennio Morricone has conducted many orchestras worldwide, including the Orchestra of the Santa Cecilia Academy for many symphonic seasons. He also conducted the Philharmonic Orchestra and Chorus of La Scala Theatre, the Rome Opera House Orchestra, the Budapest Opera House Orchestra, the Orquesta Nacionales de España (ONE), the National Brazilian Orchestra, the Orchestra of the Bavarian Radio Munich Rundfunk, the London Symphony Orchestra, the Bulgarian Symphony Orchestra and the Orchestra and Chorus of the Spanish Television. Morricone often works with the Roma Sinfonietta Orchestra for many concerts both in Italy and abroad as well as for the recordings of film scores.  On 2nd February 2007 Maestro Morricone and the Roma Sinfonietta Orchestra held an important concert at the United Nations General Assembly Hall to celebrate the UN Secretary General Ban-ki Moon taking office.  In his long career, Ennio Morricone has received many awards other than the Golden Lion and the Honorary Oscar, among which 8 Nastri D’argento, 5 Baftas, 5 Oscar Nominations, 7 David Di Donatello, 3 Golden Globes, 1 Grammy Award and 1 European Film Award. In the 2009 the President of the French Republic, Nicolas Sarkozy, has signed a decree appointing  M° Ennio Morricone to the rank of Knight in the Order of the Legion of Honor.  In the recording field, Morricone has received 27 Golden Records, 7 Platinum Records, 3 Golden Plates and the “Critica discografica” award for the music of the film “Il Prato”. The soundtrack from the film The Good, The Bad and The Ugly has been included in the list of inductees for the Grammy Hall of Fame 2009.
Roberto Vittori (Viterbo, October 15, 1964) is an Italian air force officer and an ESA astronaut. After graduating from the Italian Air Force Academy in 1989, Vittori flew in the Italian Air Force. He then trained as a test pilot in the United States.In 1998, Vittori was selected by the ESA to join the European Astronaut Corps. Since then, he has participated in three spaceflights: the Soyuz TM-34/33 and Soyuz TMA-6/5 taxi flights to the ISS, as well as STS-134, the penultimate mission of the American Space Shuttle Program. He was the final non-American to fly aboard the shuttle. He graduated from the Italian Air Force Academy in 1989 and trained in the U.S.. He flew the Tornado in the Italian Air Force before graduating in 1995 from the U.S. Naval Test Pilot School at Patuxent River, Maryland. He served at the Italian Test Center as a project pilot for the development of the new European aircraft, the EF2000. Vittori flew Tornado GR1 aircraft with the 155th Squadron, 50th Wing, Piacenza (Italy) from 1991 to 1994. During that time, he qualified for day/night air-to-air refuelling as well as a formation leader. He has logged over 1700 hours in over 40 different aircraft including F-104, F-18, AMX, M-2000, G-222 and P-180. In August 1998, after selection by ESA to join the European Astronaut Corps, he reported to the Johnson Space Center in Houston, Texas. Following a period of training and evaluation, Vittori served in various technical assignments within the NASA Astronaut Office. From April 25 to May 5, 2002, Vittori participated in the Soyuz TM-34 taxi-flight to the International Space Station (ISS), under an agreement between the Russian Rosaviakosmos, the Italian Space Agency, ASI and ESA. During his stay aboard ISS he worked alongside the resident crew overseeing four European scientific experiments. The mission successfully delivered a new “lifeboat” to the Station for use by resident crews in the event of an on-board emergency. Vittori returned to Earth aboard Soyuz TM-33. Vittori was a Mission Specialist for NASA Space Shuttle mission STS-134. He is the last non-US astronaut to fly on the Shuttle.
Alessandro Petrolati (Cagli 1974) graduated in piano and electronic music at the Conservatory of Pesaro G. Rossini, he studied Lieder (Irwin Gage), chamber music (Massimiliano Damerini), Superior course of Italian Opera (Musical Accademy of Pescara: Donato Renzetti and Dario Lucantoni) and Csound programming language (Gabriel Maldonado). He has created music for the theater: Ex Oedipo by ‘Movimento Ultimo’ (51° Sagra Malatestiana of Rimini) and a ballet inspired to the Futurism Dinamismo di un cane al guinzaglio (Theater of Cagli). He played his own electronic music: ‘L’Aquila Museum of Contemporary Art’, ‘Independent Film Festival’ by Rome, ‘Experimental Theater’ by Ancona, ‘Rome State Auditorium’, ‘Terra Fertile’ by L’Aquila, ‘Porto Ercole Biennial of Contemporary Art’, ‘Milan Real Palace’, ‘Pesaro Film festival’ (issues 2004-05), Frontone ‘Out of Range’ 2007-09,‘91Mq Berlin’ Working Week February 2009 ‘Infinite Spaces’ peaple’s public square to Rome with M° Ennio Morricone and the Roberto Vittori astronaut, Hydrophonia 2009 (Sguardi Sonori and Genova Science Festival with Jana Winderen, Kim Cascone e Domenico Sciajno). The composition Turn Around won an honorable mention at the ‘XXIII International Competition Luigi Russolo’. Alessandro Petrolati is the author of the granular synthesis software processor DensityGSC and the C++ AudioDrome soundKit (XVII CIM 2008 Venice), he teaches Sound Design at the Urbino’s Art Accademy and at the Macerata University.”
Leandro Piccioni was born in Tarquinia, but now lives in Rome. His most important soundtracks are: The Soffiantini Kidnapping, Last Bullet, The Homicide Squad, Assunta Spina, Rebecca the First Wife, In Your Dreams and The Soul’s Haven, for which he received the Popular Jury Award at the Lagonegro film festival in 2003. In  the 1970s, when he was only 15, he met Amedeo Tommasi, who introduced him to jazz at a very early age (at the time Amedeo was writing the soundtracks for Pupi Avati’s films).The experience gained in those years, along with his piano, composition and conducting studies at Rome Conservatory, all contributed to forging his musical education. He formed an important artistic alliance with Carmelo Bene who took him, as his ‘esteemed musician’, to the Venice Biennial in 1989, the performance of Pentesilea at the Rome Teatro Olimpico in 1990 and Macbeth in the following years. He has also orchestrated and conducted the non-original  film score for Lascia Perdere Johnny by Fabrizio Bentivoglio, receiving a nomination for the 2008 David di Donatello Prize for the song Amore Fermati.He has performed in concert with Ennio Morricone and the Accademia Nazionale di Santa Cecilia orchestra, the Radio Moscow and Spanish TV orchestras, and gone on world tours with the Roma Sinfonietta orchestra. He has also played soundtracks by Nicola Piovani, Gianni Ferrio and Riz Ortolani, as well as arranging and conducting music performed by the Piccola Orchestra Avion Travel and the Orchestra di Piazza Vittorio, the latter with which he continues to work.
Jana Winderen is an artist educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993 she has worked as an artist, curator and producer. She currently lives and works in Oslo. Jana Winderen researches the hidden depths with the latest technology; her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording.Her most recent sound works include “Live in Pisa” for Electronica alla Spina 4 in Italy, concert and talk at MIT, Boston in relation to the Tribute to Commemorate Electroacoustic Pioneer Marianne Amacher, “ Survivors of the Waterworld – measuring pollution by sound” for Gøteborg international biennial for contemporary art (2011), Energy Field live at ARS Electronica Festival for receiving the Golden Nica Price 2011, “Energy Field Installation“ and “Scuttling around in the shallows“ for Galerie B-312 in Montréal, Canada, 2011 and for The Project Issue room, New York 2011, “Between Dry Land”, commissioned for the installation “The Morning Line“ by Matthew Ritchie for the Thyssen-Bornemisza Art Contemporary which opened in Istanbul May 2010. The commission “Spawning Ground – from Coquet Head to the North Sea“ for the AV festival in Newcastle (2010), in 2010 she also opened a commissioned permanent sound installation at the Knut Hamsun Centre in Hamarøy, Norway. Recent releases include the album “Energy Field” (2010) on Touch, “Heated: Live in Japan” (2009), on the same label, the audio cassette “The Noisiest Guys on the Planet” (2009) on Ash International (UK), the USB stick, “Ants“, the digital download “Submerged“ (2009) on Touch and the 7 inch vinyl “Surface Runoff” (2008) on Autofact (USA). She is currently working on a commission for Sound and Music (UK), a public sound installation for Flanders Festival Kortrijk (BE) and a CD release for Touch in 2013.
Domenico Sciajno Born in Torino Italy in 1965, double bass player and composer, studied ‘Instrumental and Electronic Composition’ with Gilius Van Bergeijk and Double bass in the ‘Royal Conservatory’ of Den Haag in Holland. His interest for improvisation and the influence of accademic education, bring his research to the creative possibilities given by the interaction between acoustic instruments, indeterminacy factors and their live processing by electronic devices or computers. From 1992 he has been present in some of the most important festival as musician improviser or composer in the contemporary and experimental music scene and some of his work is documented by worldwide independent labels of experimental and electronic music. The wide spectrum of his experiences brings him very close to the concept of performance, where he use texts and electronics in combination with a coreografic use of the scene space and the projection of visuals made by himself. In 1994 he became assistant and collaborator of the american composer of electroacoustic music Alvin Curran, nowaday this relation developed in an intense artistic collaboration. Since 1999 he lives in Palermo. He made Interactive Sound installations for art galleries and exhibitions (among these the remarkable Espiral premiered at the Stuttugart FilmWinter festival 2004). Activist in the developement of experimental arts, in 1995 founded the association Antitesi, from 1995 and 1998 organized concerts and little festivals (Antitesi in musica ʻ95/ʻ96, Folk it out! ʻ97, i(n)terazioni ʻ98, Inaudito! ʻ99), in 1997 he collaborated to give birth to the Fringes record label, in 2003 started toghether with other musicians the label Bowindo and founded the national collective iXem (italian eXperimental electronic music). In the edition 2004 of Prix Ars Electronica his work OUR UR in collaboration with Alvin Curran has been prized with an honorary mention. In september 2008 his multichannel installation Phadora was premiered during the opening on the 2008 edition of Ars Electronica.
Deeproject Alessandro Petrolati  soundesigner and musician and Carlo Fatigoni sculptor begin an artistic collaboration in 2008 with a common passion for electronic music. Realize the work “Eine Neue Apokalypse” presented to  the Gallery 91mq in Berlin February 2009. In 2009, for the event ” Hydrophonia ” at the Museum of the Sea of Genoa, submit an elaboration of sounds utilizing hydrophones microphones  to be merged in the CD entitled “Apsaras”.
SGUARDI SONORI 2010 | 2011
I SANTINI DEL PRETE 
“WE, I SANTINI DEL PRETE, HAVE A MISSION ! TO PROVOKE COPULATION BETWEEN ART AND NO-ART IN THE UNIVERSE EVERYTHING NEEDS ITS OPPOSITE IN ORDER TO COMPLETE ITSELF LIGHT NEEDS DARKNESS, HATE NEEDS LOVE AND BEAUTY NEEDS UGLINESS THUS WE THINK THAT ART WITHOUT NO-ART IS INCOMPLETE AND DESTINED TO PERVERSION WE, RAILROAD WORKERS, LOVE TO INFILTRATE ARTISTS FOR THE PURPOSE OF CONFUSING CONCEPTS THAT APPEAR TO BE TOO UTILITARIAN OR FICTITOUS WE, RAILROAD WORKERS IN UNIFORM, WANT TO STATE OUT LOUD THAT CREATIVITY IS A BIOLOGICAL NECESSITY AND THE INALIENABLE RIGHT OF EVERY THINKING HUMAN BEING LOVE AND PEACE FROM I SANTINI DEL PRETE”.
Lorenzo Ceccotti (LRNZ) (a.k.a. ‘LRNZ’) lives and works in Rome, Italy, where he was born in 1978. He has always worked in animation, illustration, comics and graphics. He co-founded the comics collective “Superamici” with Dr. Pira, Maicol and Mirco, Ratigher and Tuono Pettinato. His work has been shown in main comic book festivals and published extensively. It can be seen here: www.lrnz.it and on his sketchblog lrnz.blogspot.com.
James Dashow has had commissions, awards and grants from the Bourges International Festival of Experimental Music, the Guggenheim Memorial Foundation, Linz Ars Electronica Festival, the Fromm Foundation, the Biennale di Venezia, the USA National Endowment for the Arts, RAI (Italian National Radio), the American Academy and Institute of Arts and Letters, the Rockefeller Foundation, Il Cantiere Internazionale d’Arte (Montepulciano, Italy), the Koussevitzky Foundation, Prague Musica Nova, and the Harvard Musical Association of Boston. In 2000, he was awarded the prestigious Prix Magistere at the 30th Festival International de Musique et d’Art Sonore Electroacoustiques in Bourges.  A pioneer in the field of computer music, Dashow was one of the founders of the Centro di Sonologia Computazionale at the University of Padova, where he composed the first works of computer music In Italy, and has taught at MIT, Princeton University, the Centro para la Difusion di Musica Contemporanea in Madrid and the Musica Viva Festival in Lisbon; he lectures and conducts master-classes extensively in the U.S. and Europe, most recently for the Conservatorio di Musica Benedetto Marcello in Venezia (december, 2004) where he taught an intensive series of workshop/master classes in digital sound synthesis techniques applied in particular to compositional practices, and to various aspects of the spatialization of sound. He served as the first vice-president of the International Computer Music Association, and was for many years the producer of the radio program “Il Forum Internazionale di Musica Contemporanea” for Italian National Radio. He has written theoretical and analytical articles for Perspectives of New Music, the Computer Music Journal, La Musica, and Interface. Most recently he was the subject of an extended interview published in the Computer Music Journal (Summer, 2003). He is the author of the MUSIC30 language for digital sound synthesis. His music has been recorded on WERGO (Mainz), Capstone Records (New York), Neuma (Boston), RCA-BMG (Roma), ProViva (Munich), Scarlatti Classica (Roma), CRI (New York), and Pan (Roma).  Dashow makes his home in the Sabine Hills north of Rome.
Studio Brutus/Citrullo Int./Taxonomy   Studio Brutus was formed in 1999 as a multidisciplinary company principally involved in the development of projects incorporating animation, game design, web design, video broadcast/ web and graphic design, as well as production design.  Taxonomy is a trio formed in 2003 from the collaboration between Maurizio Martuscello, Roberto Fega and Graziano Lella, a group that moves fluidly between composition and improvisation, passing from synchronized solutions to unique and different musical codes. Citrullo international  was formed in 2001 from a collaboration between Luciano Barcaroli, Carlo Hintermann, Gerardo Panichini and Daniele Villa, to produce and realize documentaries and audiovisual events, proposing and experimenting with new ideas in cinema, television and multimedia. Taxonomy (Martusciello, Lella, Fega) plays compositions and improvises, exploring the syncretism between different musical codes. Taxonomy always allows the whole to be divided up into its constituent parts. A line of shadow between osmosis and isomorphism. Martusciello is a member of the improvisation group Ossatura. In the same spirit as Parasites (AM 096), this group chooses an electro-noise approach. The finesse of the mix, worthy of electroacoustic music, highlights the rich details, a dynamic palette ranging from clashing noise to silent tracks. The album, A Global Taxonomical Machine, offers a gripping blend of concrete noise, abstract electronic effects and acoustic sections. Martusciello work in the improv group Ossatura, a major act on the international avant-garde music circuit. Places which do not appear on any map. Morphological analogies that lie between thought and micro-organisms. Strange correlations between the letters of forgotten alphabets and globalised (de-localised) languages. For us in the past all books, alphabets, signs, chemistry (both organic and inorganic), geography, religion, politics and journeys were only scenery of an experience, a dream or aspiration. Then we met by the same bookshelf of that same library. We are not particularly cultured and so we confined ourselves to the task of taxonomy, the most arbitrary of taxonomies. We thought about compiling signs according to our desires. The resulting volume does not tell any story, or even reveal any truth or discovery. This is an illegible text, devoid of significance but with meaning. If, in some way, the world itself can be reflected in the myriad of small fragments that compose it, then this is the fragment that we have unearthed.
Marco Cardini Nel 1994 presenta il primo esperimento di Pittura Cibernetica al “Teatro Politeama di Cascina” Cascina PI,  lo stesso nel 1995, presso il Conservatorio Real de Madrid; nel 1996 è stato invitato dalla New York University e nel 1999 al “Columbia University Interactive Arts Festival” dove esegue una performance al Merce Cunningham Dance Studio di New York. Nel 2002, centenario della trasmissione dall’Europa all’America del primo messaggio senza l’utilizzo di cavi, gli è stata commissionata dalla Fondazione Guglielmo Marconi una performance per ricordare l’evento perseguito e raggiunto da Guglielmo Marconi, e gli è stato assegnato il Premio Guglielmo Marconi per l’Arte Elettronica. E’ stato invitato ad Artmedia nel 1998, nel 2003 e nel 2009; la sua ricerca artistica e stata presentata in trasmissioni RAI (Futura City – Mediamente) di carattere artistico-tecnologico. Ha partecipato al Bunker Poetico della Biennale di Venezia nel 2001. Negli Eventi Collaterali della Biennale di Venezia 2007, spazio Thetis, ha presentato l’opera cibernetica “Semina-Sowing” dedicata a Joseph Beuys per una sua opera incompiuta (semina montana – operazione elicottero). Nel 2004 ha composto un’opera di pittura cibernetica con musica del compositore Heinrich Unterhofer, eseguita in tempo reale assieme all’Orchestra Haydn di Bolzano, a Bolzano, Trento, e all’Auditorium del MART di Rovereto. Nel 2002, realizza una performance  multimediale dal titolo: “Ritmi Interni”, per “DAK’ART 2002”, Biennale Internazionale d’Arte, Dakar, Senegal.
Andrea Neri | Federico Maragoni  Andrea Neri is a multimedia artist employing many creative techniques. In the middle of the 1980s Neri originated a complex individual technique based on the interaction between different non-heterogeneous materials with the natural elements of water, air and fire. Artworks, which by the artist himself have been named “frescoed and encaustic paintings”, have often been projected towards installation, by means of constant, forward-looking experimentation and a combination of fragments, objects and images of different provenience.At the end of the 1990s, with the use of new digital techniques, the artist recaptures his love for photography by creating manipulated images. The artworks produced are concepts and ideas formulated through the same processes of communication; consequently, they take on a cutting edge conceptual aspect. The artist is currently oriented toward a combined use of the various acquired techniques, by letting them oppose, alternate and lay over each other in a perpetual interplay of challenges, meaning and suggestions that are emotional, rational, conceptual and evocative.The issues of Nature and Memory are fundamental to Neri’s research. Nature is seen in its measureless depth and its limitless rational, non-rational, symbolic and biological variation;  Memory is the footprint of both personal and collective experience. Federico Maragoni  Drummer and eclectic songwriter, Federico Maragoni, since he was eight years old, is an active musician and organizer in the field of experimental music with a special interest in Rock music, Funk, Pop, RnB, Elettronic and Metal.He blooms in European music scene as drummer after starting work with the progressive metal band “Adimiron”, recording the second album of the band and playing in the most prestigious music Metal venue in Italy and Europe.From 2010 he is active in solo music-video project “Plastic Marble”, by the mingling and interaction between sound and pictures, thereby ‘an amplification of emotions.
Gabriele Quirici è musicista , musicoterapeuta e psicoterapeuta.Cultore e amante di vari generi musicali ha iniziato nel 1990 a studiare e ad utilizzare la musica come strumento terapeutico unendo la musica alla terapia e studiando gli effetti dei suoni sulla psiche. Crea i laboratori specifici denominati “Gruppi di Musarte”per pazienti psicotici in ospedali e comunità terapeutiche. Contemporaneamente dal 1994, dopo 10 anni di studi di clarinetto e basso elettrico, si concentra sullo studio e la sperimentazione di musica elettronica utilizzando sintetizzatori e campionatori e collabora alla creazione della rivista di Gianluigi Gasparetti (Oophoi) “Deep Listenings” nella quale fornisce il suo contributo in qualità di critico musicale avendo poi la possibilità di entrare in contatto con musicisti del calibro di Klaus Schulze, Klaus Wiese, Steve Roach, Robert Rich, Vidna Obmana,  Artemiev ecc…Nel 1996 grazie alle influenze sonore acquisite negli anni da vari compositori crea il progetto Perceptual Defence inizialmente finalizzato alla composizione e produzione di musiche per il gruppo di musicoterapia “Musart” indirizzato a pazienti con problematiche psicologico-psichiatriche ospiti di comunità terapeutiche e reparti psichiatrici di ospedali a Roma e pubblica privatamente e per le etichette “Umbra” e “Penombra” più di 20 cd di musica elettronica space ambient postindustriale collaborando con vari nomi della scena italiana di musica ambient tra cui Oophoi e Enrico Cosimi (Tao Ceti). Con il cd “Sound from Space” ha ricevuto varie critiche positive da riviste internazionali specializzate del settore. Dal 1996 al 1998 ha collaborato come musicista per il gruppo teatrale “Orma Fluens” e dal 1998 collabora attivamente come musicista con Alessandro Pintus e fa parte, in qualità di musicista, della compagnia di ricerca “Non Company” musicando più di 12 spettacoli di danza Butoh tra cui”La Terza Forma”, spettacolo di pittura danzante presentato al 2° Festival di danza Butoh di Roma (’98). Musica inoltre nel 2003 gli spettacoli Fili (Breaths & Threads)”, “S’ard – Sa Reula” e “Lecca” quest’ultimo per la rassegna romana Butoh Generazione. Nel 2004, sempre per NON Company, ha composto le musiche, assieme a Pietro di Lena (Chitarra), per lo spettacolo “Malamat. Primo ammonimento” e “Arte di carne” per la mostra d’arte:”Swing”, presso Marino. Infine ha composto le musiche per il video sperimentale di danza Butoh “Beh”. Nel 2005 musica gli spettacoli rappresentati presso il Teatro Furio Camillo “S’Ard – Sa Pippiedimg class=”alignnone size-medium wp-image-146″ title=”image49″ src=”http://www.faticart.org/wp-content/uploads/2011/10/image49-300×224.jpg” alt=”" width=”300″ height=”224″ /da” e “Off – Elia”. Nel 2006 sempre per NON Company compone le musiche per lo spettacolo “N” rappresentato presso il Teatro Palladium a Roma alla seconda edizione del festival “Teatri di Vetro”.Nel 2007 musica lo spettacolo di danza “Uno” rappresentato il 23 e 24 marzo presso il Kollatinounderground per la seconda edizione di “Installer”.Nel 2008 compone le musiche  e le esegue dal vivo per lo spettacolo “ Natura con uomo morto” per la rassegna Immersioni presso il Duncan 3.0 e per lo spettacolo “Pane amore e…” rappresentato presso il Teatro Rialto Sant’Ambrogio per la rassegna Body Shot (Maggio 2008, Roma). Nel 2009 ha musicato lo spettacolo “Bugimirò” rappresentato in prima assoluta presso il Teatro Palladium il 15 maggio 2009 per il Festival “Teatri di Vetro” e replicato presso il Teatro Rialto Sant’Ambrogio. Nel 2010 ha musicato “Pascere Foreste d’arcobaleni” rappresentato il 26 giugno presso il centro Panta Rei (Passignano sul Trasimeno).
Antonio De Luca (Infinite Spaces) Antonio De Luca graduated in painting at the Accademia di belle arti in Naples. He was part of the collective of artists “quartapittura” , with whom he exhibited at the Lia Rummia Gallery in 2004 the installation “common dream”. By 2005 produces videos of experimental animation. Some of his works were presented to MADRE museum of Naples within the project Naples East.
Architecture and Vision Architecture and Vision (AV) is an international and multidisciplinary team working in architecture and design, engaged in the development of innovative solutions and technology transfer between diverse fields for aerospace and terrestrial applications. Founded in 2003 by architects Arturo Vittori and Andreas Vogler, it is based in Bomarzo (Viterbo, Italy) and Munich (Germany). The name Architecture and Vision (AV) reflects the initials of the founders. Vittori and Vogler use a human-centered approach, utilizing the advantage of modern Information Technology and the Internet for combining various disciplines to complete projects ranging from terrestrial to space architecture, from surface and marine transport to aeronautics, from urban design and furniture design to personal electronics design, and multimedia art installations.[citation needed] AV coordinates teams of professionals and specialized consultants to achieve significant projects.[citation needed] AV works for airlines, space agencies, governmental institutions, universities, research institutions, and foundations as well as commercial companies and private clients. Recent collaborations include projects with ESA (European Space Agency), Asiana Airlines (Korea), Aero Sekur (Italy), the BirdHouse Foundation (Japan), GVM Carrara (Italy), and EDA, the Swiss Federal Department of Foreign Affairs (Switzerland). AV projects have received international recognition. In 2006, a prototype of the extreme environment tent, “DesertSeal” (2004), became part of the permanent collection of the Museum of Modern Art, New York, after being featured in SAFE: Design Takes on Risk (2005), curated by Paola Antonelli. In the same year, Chicago’s Museum of Science and Industry selected Vittori and Vogler as “Modern-day Leonardos” for its Leonardo da Vinci: Man, Inventor, Genius exhibition. In 2007, a model of the inflatable habitat “MoonBaseTwo” (2007), developed to allow long-term exploration on the Moon, was acquired for the collection of the Museum of Science and Industry, while “MarsCruiserOne” (2007), the design for a pressurized laboratory rover for the exploration of Mars, was shown at the Centre Georges Pompidou, Paris, as part of the exhibition Airs de Paris (2007).
Vittore Baroni (born 1956), born in Forte dei Marmi, Italy, is an Italian mailartist, music critic and explorer of countercultures. Since the mid-1970s he has been one of the most active and respected promoters and documenters of mail art. He has written or edited various books on aspects of the “networking cultures” that anticipated the Internet, among which is the mail art guide book, Arte Postale. He has also contributed to many of the seminal works about mail art published in recent decades, including Chuck Welch’s Eternal Network, H.R. Fricker’s I am a Networker (Sometimes), and Renaud Siegmann’s Mail Art, Art postal – Art posté. In the past three decades he has organized many exhibitions, events, publications and collective projects in the fields of mail art, audio art, visual poetry, underground comics and street art, including 100 issues of Arte Postale! mail art magazine. He was the originator of formative networking projects such as the TRAX modular system (1981–1987), the multiple names Lieutenant Murnau and Luther Blissett, the Stickerman project and F.U.N. (Funtastic United Nations, since 2001). Vittore Baroni was introduced to the mail art network in 1977 through Guglielmo Achille Cavellini, and instantly became heavily involved, participating every year in dozens of international projects and shows. From 1979 he organized a series of Mail Art exhibitions for the Forte dei Marmi Town Library and published the first issue of his enduring magazine Arte Postale! In 1992 he created, with Piermario Ciani, the Stickerman Museum devoted to all forms of adhesive art. In addition to writing the influential books, Arte Postale, guida al network della corrispondenza creativa (1997) and Postcarts – Cartoline d’artista (2005), he also edited the books Rubber Stamp Art by John Held Jr. (1999) and Artistamps by James Warren Felter (2002). In 2000, Baroni was Curator of the Mail Art section for a large retrospective exhibition on the art avant-gardes of the 20th century, Sentieri Interrotti at the Museo d’Arte Moderna of Bassano del Grappa. He is co-founder of the cultural association BAU in Viareggio. Baroni’s 30th Anniversary in mail art was celebrated with a series of exhibitions and projects in Viareggio and Berlin, documented in six issues of Arte Postale! magazine, and culminating in the final, 100th edition in 2009. A boxed set of the complete collection of Arte Postale! was acquired by the Mart Museum in Rovereto in 2010. Baroni has produced and published audio works since 1980 when he began recording under the pseudonym Lieutenant Murnau. The following year he founded, with Piermario Ciani, the international multimedia group TRAX to producing magazines, cassettes, records, t-shirts and live shows, and in 1991 he joined the musical project Le Forbici di Manitù which continues to release CD editions.He is also a prodigious music journalist. In 1982 he became a staff writer for the rock monthly Rockerilla, in 1989 he contributed to the monumental Enciclopedia Rock Anni ’80 by Arcana Editrice, and in 1992 he co-founded, with Claudio Sorge and Alberto Campo, the monthly rock magazine Rumore.

Nel 2010 nasce il progetto S O O N formato da Morena Tamborrino voce/teatro timbrico  e Carlo Fatigoni  live electronics e films. In realtà sin dal 2006 inizia una collaborazione rivolta al lavoro in studio col gruppo Cardiotest, il tutto improntato al soundtrack e all’improvvisazione. Di questo periodo è il lavoro Se mi dici il vet(r)o dedicato a Marcel Duchamp. Nello stesso anno lo spettacolo 9,8m/s2 insieme al danzatore butoh Alessandro Pintus. Continua la collaborazione con Alessandro Pintus e con i performers I Santini Del Prete nel lavoro dedicato al musicista concreto Pierre Schaeffer dal titolo Schaeffer le Chauffeur . Successivamente mettono in campo un insieme di live performances dove il tempo e lo spazio scenico sono sospesi, dilatati. La poesia sonora e visiva si amalgama al teatro della vita.  Il loro è un viaggio, tra le periferie dell’anima,  dove un senso di tragedia scorre tra le righe del racconto e si dipana sollevando vari e(le)menti, specchianti in essere. Lavori quali time lapse ed a.marte mettono a nudo la natura tra gli interstizi di un tempo dilatato e fragile, derive(R) immerso nel senso di perdita, dell’annullamento dello spazio, della deriva appunto dell’anima, infine hiss dove il richiamo alla persona/personale (al femminile), diventa specchio e rimando a quella maschile a cui viene data in dono la parola, matrice e viatico dell’essere, della V I T A.

Ur.L.O. Suonare col computer è ora possibile, dal ’50 in poi solo pochissimi tra compositori, musicisti e ricercatori (prevalentemente del mondo Accademico e Universitario), hanno avuto accesso ai laboratori e ai centri di ricerca musicale dove hanno sfruttato le risorse e le pionieristiche tecnologie e facendo nascere la Musica Elettronica. Tuttavia questo dominio è rimasto sconosciuto per il grande numero  che non vi è potuto accedere. La diffusione di massa del computer ha cambiato tutto e l’energia creativa esplode con la Computer Music! Nell’era del digitale l’orchestra di laptops è un  esempio di Musica collettiva, la creatività che scaturisce dal sentimento comune sorpassa l’idea stessa d’orchestra e forse anche di Musica. Troppo nel mondo “colto” si è abusato della Musica come strumento individuale e autoreferenziale, favorendo in certi casi una frustrazione completa e inconsapevole del pubblico. La nuova era spalanca le porte al alla Sound Art, alla Video Art e genericamente all’Arte Digitale. La caratteristica dell’Orchestra è quella di impiegare prevalentemente due software per la generazione in real-time dei suoni: Density/Pulsaret Granular Synthesis, sviluppati dagli autori del progetto. Non è previsto un “direttore d’orchestra” in senso stretto ma per ogni 5/6 elementi c’è un responsabile che sceglie ed elabora i suoni dei colleghi, quindi li invia al Mixer generale. Il direttore è rimpiazzato da un supervisore che si occupa del missaggio finale dei materiali e della spazializzazione del suono. L’orchestra nasce nell’ambito del corso di Sound Design (Progettazione Multimediale) all’Accademia di Belle Arti di Urbino, alla quale siamo profondamente legati.
Progetto:
Alessandro Petrolati  
Carlo Fatigoni