My personal inquiry in the fields of live media performance, sound art and new media art has been feeding a growing fascination for responsive computing systems.
I applied such systems to solo audio visual performances, interactive dance/theatre pieces, participatory concerts and networked autonomous artefacts (all can be viewed on-line visiting my portfolio).
The focus of those investigations has always been the augmentation of the human body and its environment – both actual and virtual – in order to explore relations models between men and machines (digital interaction?).
Given a honest and genuine passion for sound and music what most fascinates me though, is the performance of temporary auditive environments (i.e. concerts?); personally speaking, the creation of “music” – defined here as any sonic scape – is one of the most powerful and immediate expressive and cognitive experience both performer and audience can perceive.
Earlier experiments with augmented musical instruments started in 2007-2008 with the coding of a free, open source software (based in Pure Data) which digitally expands classical fretted musical instruments and enables performers to control audio and visual real time processing simply playing their favourite instrument. Following a perhaps natural evolution about one year ago a general interest for the biological body in live media performance had began, but only since 4/5 months I have started to slowly tighten my approach and develop a methodology.
Currently I’m researching the sounding (human) body, attempting to understand how sounds of the biological body can be used musically and how to design sounds of a performer’s body.
If you didn’t already, please read the research brief to get a glimpse of the present stage of the investigation.