These tracks contributed to create my poetry book and soundscape of the same name.

BOOK
https://www.valleypressuk.com/shop/p/beginnings-tragedies

ALBUM
https://ilariaboffa.bandcamp.com/album/beginnings-other-tragedies-the-soundscape

Beginnings & Other Tragedies/ Inizi e Altre Tragedie

Cut-up, fold-in and slow motion techniques as a representation of a state of soul, in words and sounds.

Sonopoetry by Ilaria Boffa
Field recording, wheat fields at 'Anello dei Colli Euganei', by Ilaria Boffa
Pic wheat fields, by IB

'The Value of Everything

When the wind blows 
wild on wheat fields
colonies of bee-eaters twirl 
in and out the canopies. 
Up and down they
rearrange air space.
A cut up technique 
of intermittent trajectories.
The value of watching
their change of pace
on each leaf bent.
Catching sight of nest holes.

The value of living
life folded in half.
Two linear texts juxtaposed
and unequipped for
restoring meaning.

The value of standing 
still, on hold.
The value of everything.'

The Value Of Everything

Incipit is Organ and piano by https://soundcloud.com/marcolucchi
No longer not yet is sonopoetry by https://soundcloud.com/ilaria_boffa

'No longer, not yet

Let go and gain throughout
this time of becoming
rain into the river
mirror in the mirror
curse the hail that disrupts 
action and derails beginnings

biophony leads the rhythm 
of the growing dance
incipit on repeat'

Incipit, No Longer Not Yet (Marco Lucchi & Ilaria Boffa)

Music 'Sich langsam verziehender Nebel' by https://soundcloud.com/demo-1901
Sonopoetry 'The Shallows, the Birds' and mixing by https://soundcloud.com/ilaria_boffa 
Cover picture, Venice lagoon, the Shallows, by C.

'The shallows, the birds

Invisible to the eye
it comes in the fog.
The shallows, the birds. 
Will it stop
blurring the lines
of reality? 
The aftermath of sorrow
fends for itself.

(did you recognise us?)

Invisibile agli occhi
giunge nella nebbia.
Le acque basse, gli uccelli.
Smetterà di offuscare il confine
della realtà?
I postumi della pena
badano a loro stessi.'

The Shallows, The Birds (1901 & Ilaria Boffa)

Sonopoetry by https://soundcloud.com/ilaria_boffa
Field recording taken at Teatro Cinema Astra in Padua (Italy) during the meet&greet with filmmaker Andrea Segre for the premiere of ‘Welcome Venice’ film as part of the ‘Mostra Internazionale del Cinema di Venezia 2021’.

pic: 'Venetia', Map by The Hebrew University of Jerusalem & University Library

'Almost real

Why is there nothing rather than something? 
Why is there something rather than nothing? 
They say ‘knowledge that something is actually true 
is compatible with ignorance as to how it could be true.’ 
No thing, non-thing, the absence of a something
nonexistence, niente. Reductio ad absurdum 
in the maze of doubts.
Il nulla is subjectively unacceptable.

But what’s almost real quotes the third landscape.
It entices us to browse through the wreckage
of visibility. Leftovers from passages that no one
had the rashness to venture.
Whereas the straw, bland and ditched, avails
scarecrows and stuffed chairs.
These deeds of the might-be
stare out of people’s eyes and gnaw at us.

All of me wanted all of it. 
All of me surrendered.'

Almost Real

Sonopoetry by https://soundcloud.com/ilaria_boffa 
Field recording by https://soundcloud.com/ilaria_boffa taken at 'HYPERVENEZIA' exhibition (Urban Photo Project by Mario Peliti) at Palazzo Grassi Punta della Dogana in Venice (excerpt from the slide box: original music by Nicolas Godin, text from 'Fading' a short film by Sébastien Peretto, voice by Alan Cox).
pic HYPERVENEZIA exhibition, detail

'Naked

The city and this solitude
found architecture of things
no shades in the north light.
Inhabitants disappear hence
built structures reside naked.
Abstract counterparts, we own
the aesthetic of utility-bearing composites.
Some places open causal profiles
they extend semantics.
Designing shelters though intrinsically social
yields to moral relevance.
Did we choose Beauty?
There is a joint liability, viable obligations.
Our gaze can be so disengaged and violent
in such need of repurposing.
Our gazes, spectators of their own standpoint.
We accommodate our limbs
on the madieri*, and cover the masonry with
waterproof clay and lime plaster
stapling bones.
Everything moves, every thing aches.

Spoglie

La città e questa solitudine
architettura trovata delle cose
niente ombre nella luce del nord.
Gli abitanti scompaiono e allora
le strutture fabbricate risiedono spoglie.
Controparti astratte, possediamo
l’estetica di materiali orientati all’utilità.
Alcuni luoghi aprono profili causali
estendono la semantica.
La progettazione di ripari, intrinsecamente 
sociale si piega alla rilevanza morale.
Abbiamo scelto la Bellezza?
Esiste una responsabilità congiunta, obbligazioni fattibili. 
Il nostro sguardo può essere così distratto e violento
così bisognoso di riqualificazione.
I nostri sguardi, spettatori della propria posizione.
Appoggiamo le membra
sui madieri* e copriamo la muratura
con argilla resistente all’acqua e intonaco di calce
graffettando le ossa.
Ogni cosa si muove, ogni cosa fa male.'

*timber boards

Naked

'Giganti Rosse/Red Giants' reflects on what sacred may mean, the non-negotiable and radically vital choices of our life.

This sonopoem will be performed in Florence (Italy) by https://soundcloud.com/marcolucchi during the Festival 'PAESAGGI SONORI URBANI'.

Poetry, sound effect and mixing by IB
pic Selvazzano Dentro, 2015 by IB

'What if this is the time 
the non-negotiable self, the sacred.
The line we already crossed.
Nothing is more real than the wind 
in the winter when it cracks the skin and
clenches the throat, when it forces 
each frequency.
On the riverbank, it lashes 
the floodplains and then it pauses.
You told me about these years
the fatigue, and I do nothing
but ponder over our presence.
Where have we been? What are we
bringing along? History is
a tale within a tale 
a series of omissions, hypotheses
and mitigations. 
And we may desecrate remembrance
and contaminate our becoming
but the urge to outlast the death
of the sun slams us. 
Massively entrenched in the anxiety 
to get lost, evolving away from
the main sequence like red giants.  
A few decades down the line
we will meet, I will sit down across 
from you and I’ll ask once more
do you know my name?' 

'E se fosse questo il tempo, il sé
non negoziabile, il sacro.
Il confine ormai oltrepassato.
Nulla è più vero del vento in inverno
quando taglia la pelle e serra
la gola, quando forza le frequenze.
Sull’argine sferza le golene
e poi si arresta.
Mi hai detto della fatica di questi
anni, e non faccio che pensare
alla nostra presenza. 
Dove siamo stati? Cosa 
ci accompagna? La storia è
un racconto nel racconto
una serie di omissioni, presunzioni
e attenuanti. 
E possiamo profanare il ricordo
e contaminare il divenire
ma la foga di sopravvivere allo spegnersi
del sole ci sbatte addosso. 
Radicata in modo massivo l’ansia 
di perdersi, uscire dalla sequenza
principale come giganti rosse.
Qualche decade più oltre
ci incontreremo, mi sederò
di fronte a te e ti chiederò di nuovo
conosci il mio nome?'

Giganti Rosse/Red Giants

Closeness is included in the collective performance 'Brain of Many Rooms' by Marjorie Van Halteren https://soundcloud.com/vanwindmill, Tony Brewer, Brian K. Price, https://soundcloud.com/jeff-gburek that you can listen to here:  http://mixlr.com/eaps/showreel/brain-of-many-rooms

Field recording taken by Ilaria Boffa on the Oresund strait in Copenhagen, 2021
(Please use headset)

Closeness

There was a day when
C’è stato un giorno in cui

sounding different seemed 
un suono diverso è sembrato

a useful coping strategy.
un’utile strategia di adattamento.

The gender of objects
Il genere degli oggetti

never stopped flashing 
non ha mai smesso di far capolino

like reminders of identities.
come promemoria di identità.

The road, a path
La strada, un tragitto

our relationship to the world
la nostra relazione con il mondo

our multiple us 
i nostri multipli noi

foreign to each other
stranieri a se stessi

one and the same.
eppure identici.

Voices whispering from behind
doors left ajar
Voci che bisbigliano dietro porte 
socchiuse

we are the morning, the backwash 
of faraway seas and the dusk chorus.
Siamo il mattino, la risacca di mari
lontani e il verso degli uccelli la sera.

Such Interlocutors complement
Tali interlocutori si completano

and when it’s time they temporise
e quando è ora temporeggiano

imperceptibly to get ready and 
play their role.
Impercettibilmente nel prepararsi
e fare la loro parte.

Alternate soundscapes they vocalise 
their own anima. 

Paesaggi sonori alternativi verbalizzano 
la propria anima.

Is this deconstruction and reconstruction 
is this closeness?
	
Si tratta forse di decostruire e ricostruire
oppure vicinanza?

And so I’m here writing through 
E così sono qui a scrivere attraverso

my two breaths, choosing words 
i miei due respiri, scegliendo parole

that you may understand.
che tu possa comprendere.

For when the beginning comes
Perché quando l’inizio verrà

each end will be forgotten
ogni fine sarà dimenticata

though the record of pain
sebbene la testimonianza del dolore

will remain lost in translation.
resterà intraducibile.

Closeness

Sonopoetry by Ilaria Boffa
Field recording taken at Teatro La Fenice Opera House, Venice, 2022 by Ilaria Boffa
pic Teatro La Fenice 2022, by IB 

'Whatever comes to pass
time will file the time
and this extraordinary wait.
The drama and the epic
the events that befall
the beginners
invoke glory and rage.
Because of necessity
they happen to live
because of belongingness
they happen to become.
There’s no difference between
starting and starting over for
what was or wasn’t done
cycles with the stringency
of a climate loop.
And the silence of hesitation
saturates the air condensing
inside the mask
accelerating the dew point.
It muffles this new normal.
Beginners challenge
the so called tragedy
of the time horizon
in which people can’t imagine
the suffering of the humans
of the future and
nothing much gets done
on their behalf.
Beginners are seamless
and they care.
Some of them give in.'

'Qualunque cosa accada
il tempo archivierà il tempo
e questa straordinaria attesa.
Il dramma e l’epopea
gli eventi che accadono
a chi comincia
suscitano gloria e rabbia.
Per necessità
succede di vivere
per appartenenza
succede di divenire.
Non c’è differenza tra
iniziare e ricominciare perché
ciò che è stato o non è stato fatto
si ripete con l’intransigenza
dei cicli climatici.
E il silenzio dell’esitazione
satura l’aria che condensa
all’interno della mascherina
accelerando il punto di rugiada.
Attutisce questa nuova normalità.
Coloro che iniziano sfidano
la cosiddetta tragedia
dell’orizzonte temporale
per cui le persone non riescono
a immaginare la sofferenza
degli esseri umani del futuro e
poco viene speso a loro favore.
Coloro che iniziano sono senza soluzione
di continuità e a loro importa.
Alcuni si arrendono.'

Ode for the Beginners

Field recording taken in Vibo Marina (Italy) by IB
Violin improvisation and vocals on the beach by https://soundcloud.com/ida-di-vita
Sono-poetry, sound effects and mixing by IB

Excerpt #2 from my in progress new poetry book:

'And then there’s failure. Again and again.
A sandcastle torn down right before it falls.
Because it’s stinging to see it washed in with the tide
blown away or stamped over by someone else.
It’s always been an elsewhere with an unnatural
push to end.    

Failing failing failing and failing again.
It’s the cost of regret and choices
deferred that burdens us.
Getting old and realising that
we haven’t shared our lives.
The gusts of wind clearing fast
the air when fall starts.

Trying, trying, trying and trying again.
So mortal the doubt of being defeated 
the discomfort, the weakness.
If only guilt could make amends. 

Everywhere is an elsewhere.
Such region of possibility blurs behind 
the virtuality of this decade
the world’s several attempts to
decarbonise as fast as possible
chasing consensus at COP negotiations.
We should sign our own Paris Agreement
and write a consistent rubric.
We should lie down under 
an auburn skyline and kiss.

E poi c’è il fallimento. Ancora e ancora.
Un castello di sabbia distrutto giusto prima di cadere.
Perché è dura vederlo scomparire con la marea
spazzare via dal vento o calpestare da qualcun altro.
È sempre stato un altrove dall’innaturale
spinta a finire.

Fallire fallire fallire e fallire ancora.
È il costo del rimpianto e delle scelte
differite che grava su di noi.
Invecchiare e rendersi conto
di non aver condiviso le nostre vite.
Le raffiche di vento che puliscono l’aria
veloci all’inizio dell’autunno.

Provare, provare, provare e provare ancora.
Com’è mortale il dubbio del venir sconfitti
il disagio, la debolezza.
Se solo la colpa facesse ammenda.

Dovunque è un altrove.
Questa regione di possibilità sbiadisce dietro 
la virtualità dell’ultima decade
i numerosi tentativi del mondo
di decarbonizzare il più velocemente possibile
inseguendo il consenso alle negoziazioni COP.
Dovremmo firmare il nostro Accordo di Parigi
e scrivere un corrispondente protocollo.
Dovremmo stenderci sotto 
uno skyline ramato e baciarci.'

So mortal the doubt

Field recording taken by IB at the Antique Market/Mercatino delle Cose d'Altri Tempi, Piazzola sul Brenta (Padua). Group of college students' open air performance.
This market is one of the biggest in Europe.

Poem 'Make Me Ready' by IB from the in progress new book

'Make me ready for the arrival of the rain
which is expected heavy but needed.
Show me what I can get rid of
pruning shrubs along the fluvial corridor.
And if we must leave 
the fourth industrial revolution behind
its augmented social reality 
to repair our notion of mortality
help me not to falter.
We may remain one day, one last day.'

'Preparami all’arrivo della pioggia
che si prevede intensa ma necessaria.
Mostrami ciò di cui sbarazzarmi
potare gli arbusti lungo il corridoio fluviale.
E se dobbiamo lasciarci alle spalle
la quarta rivoluzione industriale
la sua aumentata realtà sociale 
per poter recuperare la nozione di mortalità
aiutami a non vacillare.
Potremmo rimanere un giorno, un ultimo giorno.'

Make Me Ready

I am delighted to give my contribution for 'Ode to Life', a project created by talented artist and friend Wilfried Hanrath. 
(https://soundcloud.com/flyingtonefish)

'Ode to Life' is a cry to be and remain human regardless of religion, land, present and future. A collection of various artists.
https://wilfriedhanrath.bandcamp.com/album/ode-to-life

Phonocene/Fonocene is an excerpt from my latest book 'Beginning and Other Tragedies/Inizi e Altre Tragedie'.
This track is voice only, a crescendo of pathos and anticipation, which I hope does justice to the theme.

Phonocene

We’ve recognised our sound
in this Phonocene.
We’ve shared significance
and a territory, a place to be.
While feeling and hearing
birds crashing into the sky
trees imploding, people
tearing apart and decomposing
we cry out our phonos
of pure joy and echoes of grief.

We walk this Phonocene
with our eyes closed, stuck
in between bewilderment and action.
What can we do but hold on
and be memory for one another?
What can we do
but belong to life?

Fonocene

Abbiamo riconosciuto il nostro suono
in questo Fonocene.
Abbiamo condiviso il significato
e il territorio, un posto in cui essere.
Mentre percepiamo e ascoltiamo
uccelli schiantarsi contro il cielo
alberi implodere, persone
andare in pezzi e decomporsi
gridiamo il nostro phonos
di pura gioia ed echi di pena.

Camminiamo questo Fonocene
ad occhi chiusi bloccati
tra stupore e azione.
Cosa fare se non resistere
ed essere memoria l’uno per l’altra?
Che cosa possiamo fare
se non appartenere alla vita?

pic Phonocene, story of a woman/Fonocene, storia di una donna, Anello dei Colli Euganei, March 2024.

Phonocene/Fonocene

Ode to Failure/Ode al Fallimento is an excerpt from my latest book 'Beginnings & Other Tragedies/Inizi e Altre Tragedie', Valley Press 2023.
Field recording taken with jrf hydrophone.

'Ode to Failure

Close all the windows
check for draughts.
Let it start and flow and pass through
the furniture and the basket of linen
the dying toothpaste tube
the dogs’ eco-bags.
On each visit, it seems it never left
talkative and judgmental, it lingers.
But when we sit surrendered
it crops and trims, it asks for mercy.
This is not about falling per se
rather, about the dynamics of the fall.
Like photon wave-particle duality
and the uncertainty principle.
We can never be certain
about the position of a body in space.
If we fall it’s hard to pinpoint us
figure out where we’ll land.
It says – don’t take all the blame
I can be irrational and unwarranted
over-ascribed to your life.
Contextualise your grief.

Ode al Fallimento

Chiudete tutte le finestre
controllate gli spifferi.
Che cominci e fluttui e passi attraverso
i mobili e il cesto della biancheria
il tubetto agonizzante del dentifricio
i sacchetti bio dei cani.
A ogni visita, sembra non sia mai partito
loquace e giudicante, si attarda.
Ma quando ci sediamo arresi
ritaglia e spunta, ci chiede comprensione.
Non si tratta del cadere di per sé
piuttosto delle dinamiche della caduta.
Come la dualità di onde-particelle dei fotoni
e il principio di incertezza.
Non possiamo mai essere certi
della posizione di un corpo nello spazio.
Se cadiamo è difficile localizzarci
capire dove atterreremo.
Dice – non addossarti tutta la colpa
posso essere irrazionale e arbitrario
sovra attribuito alla tua vita.
Contestualizza la pena.'

Ode To Failure/Ode Al Fallimento

Music, vocals, production and cover picture by Nata Boundariver https://soundcloud.com/crazycompass

Sonopoem, old recording of myself reciting the Italian poem 'San Martino' by Giosuè Carducci in primary school (circa 1982) by https://soundcloud.com/ilaria_boffa

'Foreign

Re-imagine, re-design, reset, rewind, restore, rebuild, recover.
Everything I felt I knew is foreign to myself.
Everything that animates me separates itself from itself.
I am the signifier, the signified, the phoneme.'

These verses urge to go back to Innocence.
I encourage the listener to read 'Songs of Innocence and Experience' by William Blake.

(ITA)
Re-immagina, riprogetta, resetta, riavvolgi, ripristina, ricostruisci, recupera.
Tutto ciò che sento di conoscere mi è estraneo.
Tutto ciò che mi anima, separa sé stesso da sé stesso.
Sono il significante, il significato, il fonema.

Foreign (Crazy Compass & Ilaria Boffa)

Sonopoetry and field recording in Venezia by https://soundcloud.com/ilaria_boffa

Conversations, sotto voce

Hemp. 
Loosen the rope 
secured to the bollard
onto the wharf. 
Unmoor, I hold you.

Canapa.
Allenta la fune
cinta alla bitta
sul pontile.
Sciogli l’ormeggio. Ti tengo.

Conversations, Sotto Voce

Poem 'Body Memory Hypothesis', field recording and cover pic taken in Venezia at Punta della Dogana by Ilaria Boffa

Body Memory Hypothesis

'La nostalgia never rests, never 
complains for it never ceases. 
 
When we rarefy we loosen grip
we allow others’ passage. 
They release new kinaesthetic 
recordings and by merging we
discontinue our tissue 
recollections and restore 
experience. Permeable or
semipermeable, up to us.
It’s a remembrance crossover
and recombination.

Feel me spread and merge.
Rarefy.'

Body Memory Hypothesis (canticle)

Music, field recording and cover art by Re-evolution Cafe' Orchestra
Original track https://soundcloud.com/re-evolution_cafe/music-for-trains-and-station by @re-evolution_cafe

Sonopoetry and mix by @ilaria_boffa
Days in Autumn poem pays humble homage to ‘You Must Believe in Spring’ by Bill Evans on message, mood and rhythm. It also refers to Rainer Maria Rilke's poem 'Herbsttag/Day in Autumn'.

Days in Autumn poem by IB

we must believe in spring
Earth axis increases
its tilt to the Sun
dew comes, frost no more
vernal peers share light

many a time belatedly
days in autumn
prepare for cold and
special smell of soil
many a time fitfully

oh we must believe in spring
let snow melt and streams swell
the hardiest flowers sprout
days in autumn
prepare for dark and
many a time forecast the yield

dobbiamo sperare nella primavera
l’asse della terra aumenta
l’inclinazione al sole
giunge la rugiada, scongela la brina
i pari dividono la luce in primavera

spesso in ritardo
i giorni d’autunno
preparano al freddo
all’odore tipico della terra
spesso irregolari nel modo

oh dobbiamo sperare nella primavera
lasciamo la neve sciogliere e i fiumi gonfiare
che spuntino i fiori più temerari
i giorni d’autunno
preparano al buio e
spesso dicono il raccolto

Days In Autumn Mix 2. (Re - Evolution Cafe' Orchestra & Ilaria Boffa)

Sonopoetry and field recording in Venice 2020 by https://soundcloud.com/ilaria_boffa

Special thanks to Venetian poet Francesco Sassetto for being my 'Cicerone' in Venice and to Signor Ernesto Ortis, recently passed away*, for his story of hard work and sacrifice, for sharing his intimate memories and for his kindness.

Narrative poem

'Interviews and chats 
to document and track eustasy.
Snatches of narratives amidst 
passersby’s cheers! and shoves.  

Microcosms of shopkeepers
emigrants and migrant 
education programmes, gondolier
union protests. Evictions.

Beside charm and rapture
room for wretchedness.
Isn’t frailty hostage to habits?
‘Amore, it’s always been that way’.

And in the midst of scandals and 
laissez-faire, ‘Latteria Ortis’.
Dairy goods and social role.
Grocery delivery service for 
community building since 1952.

Year after year the racket of people
trading, exhibiting, copulating
discarding and sedimenting
the lagoon’s Holocene strata.

Geological sequence stratigraphy
induces sea level changes.
The amplitude of our actions
investigated by VHR seismic profiles.
The amplitude of our day after.

Possibly a VHRsp is all we need.'

* https://www.veneziatoday.it/cronaca/ernesto-ortis-morto-venezia.html

Narrative

Venedig Czwartek 926 music by https://soundcloud.com/jeff-gburek
Sonopoem by https://soundcloud.com/ilaria_boffa
Pic by IB: view from Fusina ferry boat, Porto Marghera Petrochemical Plant

'Ebb Tidal Delta, Findings & Intercourse

Upon progression, stasis. 
The planimetry of transgressive deposits 
detects nonconforming incoming signals. Findings? 
Maximum flooding and ebb tidal delta on our faces afterwards.  
Our channels capped and monitored by safeguard norms. We’ve been 
rounding down our drives. The exercise of replacing intercourse with course 
although an inter-course is a course between. Shouldn’t we map an intercourse? 

For the sake of science.'

Ebb Tidal Delta, Findings & Intercourse In Venedig, Czwartek 926 (Gburek&Boffa)

Music by Jeff Gburek 'Madludzi 935' https://soundcloud.com/jeff-gburek/madludzi-935
Sonopoetry and mixing by I.Boffa
Pic by I.Boffa

Tidy Up poem

'January

Tracts of land, unploughed
The eye’s attempt to tidy up

Month of beginnings and 
transitions, January

stores fatigue and anticipates
sowing

So many Januaries'

Tidy Up, Madludzi 935 (J.Gburek&I.Boffa)

Music&mixing by https://soundcloud.com/markvernon
Sonopetry&mixing, cover pic by https://soundcloud.com/ilaria_boffa

Sonopoem called 'Ode for Complexity' by IB

'Ode for Complexity

And what’s next? Next roots to eradicate, cultures to dominate, archetypes to steal. Cyborg and Pseudo.
Assume mediocrity. No phenomenon is special, privileged, exceptional or superior.
Assume the principle, ‘if an item is drawn at random from one of several sets or categories, it's likelier to come from the most numerous category than from any one of the less numerous categories’.
And yet, the probability of being mediocre is increasing. The service of thinking is at risk.
Too-much-ness of counter-intuition. It’s hard to do difficult things. 

*‘E’ difficile fare le cose difficili:
parlare al sordo,
mostrare la rosa al cieco.
Bambini, imparate a fare le cose difficili:
dare la mano al cieco,
cantare per il sordo,
liberare gli schiavi che si credono liberi’.

Clouds are moving fast. They’re shifting perspective. Carry me with you.'

* Nursery rhyme by Gianni Rodari, late Italian writer, especially children’s literature, pedagogist, journalist and poet.

It’s difficult to do difficult things: 
To talk to a deaf,
to show a rose to a blind. 
Children! Learn to do difficult things:
take the blind by hand, 
sing for the deaf, 
set free slaves who believe themselves free.

Nexotica (Mark Vernon & Ilaria Boffa)

Poetry, Field recording and the Human Human

'I use this space to offer an experience of Sonopoetry, the voice of verses combined with field/sound recording and music collaborations.
Writing and composition marked the passage from pre-history to history for human beings. I firmly believe that writing&listening (active care/empathy and full attention to each and every sound from each and every living and non living being) could inform, guide and represent the Posthuman era that I'll call Human Human era -from sapiens sapiens to human human.
The contemporary alliance between the disciplines of Art, Science and Philosophy elicits the conceptualisation of the Posthuman that to me also implies the transition from the Anthropocene to the Age of Art as a driver of thought and vision. I advocate the responsibility to assign a 'more than human' meaning to the Posthuman concept, that's why Human Human, in order to emphasise the human core, the genetic connection to bio and non-bio diversity as per the Biophilia Hypothesis.
Are we listening?'

Born 6 January 1972, Ilaria Boffa is an Italian poet and sound recordist. 
She has published four poetry collections and she is one of the eight authors included in the North East American Association publication ‘Writing in a Different Language’ Vol XL 2018.
Over the last years, she has been experimenting with field recording, blending her spoken word with sound.
Publications:
Beginnings & Other tragedies/Inizi e Altre Tragedie, 2023, book of poems (Eng/Ita)
https://www.valleypressuk.com/shop/p/beginnings-tragedies

About Sounds About Us/Di Suoni e di Noi, 2019, book of poems (Eng/Ita)
http://www.samueleeditore.it/about-sounds-about-us-ilaria-boffa/

Writing in A Different Language, volume XL NeMLA publications (Northeast Modern Language Association), College of New Jersey, 2018
http://www.buffalo.edu/nemla/publications/nis/past/volume-xl.html

The Bliss of Hush and Wires/Periferie, 2016, book of poems (Eng/Ita)
http://www.samueleeditore.it/periferie-the-bliss-of-hush-and-wires-ilaria-boffa-2/