“Reality cannot be read ; it can be garnered, be tied up, and at best be swindled.”

Aletheia is a musical piece based on exploring, transforming, hacking, bending, and interplaying with audio and image generative models. Referring to the pre-socratic notion of aletheia, this piece illustrates the discovery of reality of neural audio synthesis models by going from a pure phenomenological perception to an imitation game, yielding to a deranging and coercive version of reality. Besides attempting a reflexive work between philosophical aspects of reality and exploration of model’s rules through deviation, aletheia is motivated by the experimental development of new approaches to compose and interact with neural generative models, and by which new aesthetics they can provide.

Aletheia

2016@stereo
La serie di microcomposizioni "Tecnomorfosi" presentano delle riflessioni dell'autore sul senso del tempo nel continuum sonoro.
VocalZ presenta una dialettica eclettica tra suoni derivati dalla frammentazione ed elaborazione della parola New York cantata da Frank Sinatra insieme a numerosi oggetti sonori ottenuti da soli cinque suoni campionati in una stanza di albergo parigina.

Tecnomorfosi I - VocalZ (2016)

muzArt

version for live-electronics, lighting and video

composed in 2010

duration: 25'

muzART is based on the C-major piano sonata K.545 (sonata facile) by Wolfgang Amadeus Mozart. The original material was altered, layered and manipulated in many different ways and reorchestrated for two soloists and chamber orchestra (1111 1110 1 11111) with the addition of electronic processings and three pre-produced recordings. Not a single note was added by the composer. All musical material with the exception of the pre-produced recordings, is derived from the piano sonata.

Later on the same year, I realized an adaptation of this work for a solo performer with live-electronics, lighting and three short videos.

muzART was motivated by my great admiration for Mozart's music but is also a commentary on the classical music industry, which is characterized by standardized mass-production not dissimilar to sale-oriented pop music, but while pretending to be of higher cultural and artistic value.

muzART

'Fanfare' was commissioned by Music Biennale Zagreb in 2019 with theme "City and space" in mind. Six brass players of Ad gloriam ensemble are surrounding the audience, accompanied by 6 loudspeakers. The piece tries to portray time as if it were another spacial dimension, referencing the nostalgia of old chansons about Zagreb, that were used as source material. Hence the opening and closing movements are formally a mirror image of one another. Furthermore, the electronic was composed by reshuffling short sound units from various songs about the city, matching the spoken sound of the text of those same songs. Like collective memory, these sonic fragments become detached from linear timeline and pop-up from different corners of room as if site-specific.

Fanfare

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muzART

ciciliani

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