The composition attempts to tell an imaginary story through a "sound fable".
A female child with beautiful eyes, she is incarcerated alone in a huge prison, completely dark and without windows.
She is unable to speak, the only glimmer of communication is represented by the sound she hears by hitting one of the steel bars in her suspended room. Through this sound, transforming it into her mind, she embarks on a dreamlike journey; along the way, her imagination gains strength and, trying to limit it, builds a "sound mosaic" that slowly falls apart to gently lead her into a parallel reality, removing the emptiness of her perception, finally returning to her prison, keeping her life altered.

She doesn't fight, she just teaches who she is.
And the "sound fable" continues...

The composition is inspired by a recurring dream and a very dear friend of mine.

The composition was made only with synthetic sounds, starting from the sound simulation of a steel bar.

Female Child System Imprisonment

The project is based on the TIN (chemical element) as a conceptual starting material and the analysis of the sound of "tin cry". TIN META-SONIFICATION SYNTH is a software written in SuperCollider based on two sonifications: the first is derived from the physical-chemical characteristics of the TIN, the second on the atomic number and atomic radius. The variation of pressure and temperature controls in real time the values of density, sound velocity, state of matter, boiling point and melting, which controls a first synth.
The atomic radius and atomic number are the basis of an additive synthesis complex, modulated in frequency, amplitude and phase. The generated sound is spatialized in ambisonics first order (ATK Ambisonic-Toolkit), according to the theory of atomic orbitals.
The composition/improvisation derivative, is a journey through the sonic dimensions of the TIN, it
creates a "bond" between the real sound of "tin cry" and an imaginary soundscape.

Through The Space Of Crying - 2nd version

Live concert Linux Audio Conference 2014
Ambisonics to Stereo

Through the space of crying LAC2014 - 1st version

Theater, Live Electronics ideation by Eugenio Giordani
Conference Show – Ermanno Cavazzoni «Bestiario filologico e fantastico»

Marco Messa: Bass saxophone
Anthony Di Furia: Programming and Live Electronics


Example Ermanno Cavazzoni Show

Sound Exercise - dedicated to my duck Camilla

For Camilla

Binaural SoundWalk
http://www.grottestiffe.it/

Grotte Di Stiffe

Composition for KRONO-CALIGRAFIA
https://www.facebook.com/events/475885279229191/

Engraving Soul

Sound Exercise:
Composition based on simple RM,AM,FM and Aliasing Effect

Dedicated to my friend Alessandro Mainardi

Mastro's Delirium

Composition based on Sonification about Mafia Data
http://www.confiscatibene.it/it

The Sound Of Mafia

Young-Visions

Piano Selvatico (Wild Plane)

Synopsis
The timeline lives in an infinite dimensional sound space, inhabited by zones of temporal suspension. From this timeline, three different sites come to life in the Piano Selvatico (Wild Plane). The first is made of the time frames of living reality, a simple point of view on sound moments extracted from the soundscape. In the second, these living moments encounter imaginary sounds, designed to sculpt the surface of reality, shaping it along different profiles. In the third site, the foundations of both reality and imagination fall apart, and time is crystalized. The zones of temporal suspension emerge, populating new dimensions in the sound space. Time sublimates trying in vain to calm disorder.

Description
The work “Piano Selvatico” is the result of three residencies, between the spring of 2014 and the summer of 2016, within the trans-disciplinary research program “Transformation”, funded by Pianpicollo Selvatico: a newly established home for research directed by Alice Benessia, a farm for experiments in the arts and sciences in the wild rural area of Alta Langa, in the northern Italian region of Piemonte. The composition here presented is a synthesis of Piano Selvatico, in which the farm and its surroundings are explored in three steps: 1) the description of the original sound reality, recorded in different seasons during the creation of an extensive sound archive, 2) the interaction between the soundscape and a layer of synthetic textures, and 3) the complete transformation of the soundscape.

Anthony di Furia

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