From the cycle: "Kilpisjärvi Sessions"

@Collettivo_21 :
Eleonora Liuzzi / Alessandro Mazzacane / Daniele Nava / Lorenzo Moretto / Lorenzo Di Marco / Luca Guidarini

Recorded 6th of August 2023 at Casa Della Musica San Michele, Montaldeo / Foresty Festival
Mix: Alessandro Perini
Master: Luca Guidarini

www.collettivo21.com
www.alessandroperini.com

Ornithology I. Chronicles of the ground (Collettivo 21), 2023

Hand In Hand

Adaptation Assez Facile

The 1st grade class (1°U) of the Primary School "Livio Tempesta" in Quattro Castella (RE), assisted by their teacher Loredana Caruso and father Giuseppe Cordaro, have created musical scores and sounds of their school community. The children participated in two days of educational activities during which they experienced firsthand active listening and theories about the sound landscape. On the first day they recorded the sounds that accompany their school life every day (photocopier, gate, restroom flush, music room, kitchen, etc.). They also experimented with sonification of the willow tree in the garden using an Arduino board. During the night, a digital microphone (audiomoth) was installed near the willow tree to record nocturnal sounds, as the school is located in a peripheral area surrounded by greenery. On the second day the children, with the guidance of their teacher, selected the sounds recorded on the first day, and I created a 60-second file. 

1°U_Livio_Tempesta

Texada (Original Score)

The Quarry

The work is contrasting aural places of intimacy and enclosure with expansive spaces and propagates through their interaction.  The title is borrowed from a painting by René Magritte, depicting two coffins seated in a mountainous landscape. The source materials for the work have been recorded with an 18 channel microphones arrange in a globe shape, encoded in Higher Order Ambisonics. The work was completed with the support of Musiques & Recherches at the Métamorhose d'Orphée studio during in the summer of 2024. 

Par une belle fin d'apres-midi (stereo reduction)

Music by Matthew Ryals
Mastering by Nil Hartman
Artwork and layout by Vivek Thakker

Thank you to Nil Hartman, Elliott Watson, Joyce N. Ho, and Vivek Thakker

etude no. 10 (take 4)

Clouds

Studio No.3 from 'Studi' by Francesco Gennari

Artwork by Daniel Hicks

Studi

Studio No.3

With the summer festival season drifting into memory, it feels like the right moment to linger on one of the most thoughtfully shaped events in recent years. The Mostra Festival unfolded over the Easter weekend across two Barcelona locations, and what set it apart wasn’t just the programming, but the curation - a balance of trust, patience, and precision. The first two days leaned toward the ambient and the experimental, tipping into rhythm as the nights wore on. Yet the real magic of that opening stretch lay in the beatless hours. Friday in particular offered a moment that still reverberates among Mostra regulars and beyond: Robert Henke’s performance of Dust. If there is any place in the world designed for such a work, Mostra provided the perfect frame. For one afternoon, Henke held the crowd in complete attention and reverence, something essential for any artist, but especially for one whose work is as delicate, shifting, and expansive as Dust.

For many of us, Robert Henke, Monolake to longtime listeners, has been a constant presence in the background of our musical lives. His records shaped taste, his performances redefined how electronic music could be experienced live, and his role as co-creator of Ableton changed the very tools we use to make and share sound. Few artists can claim such a dual legacy: architect of both the music and the machinery. Whether in moments of joy or frustration, whether in the studio or on the dancefloor, it’s impossible to imagine modern electronic music without his fingerprints on it. Henke embodies the link between technological innovation and artistic expression, and his influence runs deeper than most of us can trace.

Dust is perhaps the clearest expression of that link. Powered by a custom granular synthesis engine, it reduces sound to particles, field recordings, analog tones, machine hiss, bells, and waves, then disperses them into clouds that evolve in real time. The result is less like a composition and more like a living organism: fragile, unpredictable, always becoming something new. At Mostra, this unfolding took shape in late afternoon, after Patrick Russell’s set had sharpened the air with its own restraint. Henke stepped in with a 360-degree surround system that transformed the floor of Fabra i Coats into a resonant body. The sound was cosmic and liquid, grainy and immense, stretching outward until it seemed to erase the horizon. Every surface in the space shimmered with detail, as if the air itself had been tuned. What made it remarkable was how fragile it all felt. Nothing was forced; every movement seemed to arise on its own, like dust caught in late-afternoon sunlight. Yet the immersion was total. People surrendered, leaning into the space as if trying to hold onto something that could never be held. For that hour, Mostra wasn’t a festival anymore. It was a room of people floating together in a world made entirely of sound, knowing it would never happen in quite the same way again.

https://soundcloud.com/monolake
https://www.instagram.com/studio.robert.henke/

www.mostra.barcelona
www.instagram.com/mostrabcn/
@mostrabcn

Write up by @gilleswasserman

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Read

Delayed x Mostra: Robert Henke presents Dust

ksana is a musical piece by Benjamin Thigpen (France-USA) writed for two Tu-Yo (Laporte new invented instrument) and Computer.

ksana is the Sanskrit word designating the smallest interval of time. It is the 90th part of a thought. When a man snaps his fingers, 63 ksanas have gone by – and within each passing ksana there are 900 instances of arising and ceasing.

To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.
			                  - William Blake

Ksana

Fragile

Navigating the crossroads of the electroacoustic music
-------------------------------------------
20.09.2025 @ New Electronic Arts Trieste 
7.09.2025 – [acousmatic] Festival Supersonique – Marseille
16.07.2025 – [acousmatic] Pianeta immateriale CRM – Roma
24.05.2025 @ FRINGE festival – Torino 
21.02.2025 @ HELLERAU — Europäisches Zentrum der Künste - Dresda
16.10.2024 @ Pordenone x Polinote Music (in) Factory
10.10.2024 @ MA/IN Kora - Contemporary Arts Center - Lecce
25-28.09.2024 @ Light our Vision - Lichterfestival - Chemnitz (DE)
23.08.2024 @ Forte Albertino - Vinadio 
8.08.2024 @ Bussi Sul Tirino w/ Stefano Risso e Luisiana Lorusso
7.07.2024 @ ArteScienza Festival - CRM - Roma (acousmatic piece première) 
30.06.2024 @ Torino x musica alla spina
02.06.2024 @ Roccasparvera x Montagna futura (CN)
27.04.2024 @ Torino Jazz Festival w/ Bearzatti, Risso, Barbieri
4.02.2024 @ Batavierhuis, Rotterdam (NL)
3.02.2024 @ Perifest - Deventer - Nederland
7.11.2023 @ Inalco – Paris w/ Giuseppe Gavazza 
1.11.2023 @ TKOB - Tirana w/ Stefano Risso e Luisiana Lorusso
15.09.23 – OSA Reliving Occitania with Paolo Baldini, Plastica, Matthias Loibner, Duo Bottasso, Martina A., Edoquarto e Franco Conte – APM Saluzzo
9.09.2023@ Passaggi di vento - Acceglio (CN)
8.09.2023@ Saluzzo - (CN)
26 .06.2023 @ Sardegna Teatro – Cagliari
24.03.2023 @ Soluzioni Festival - Torino
14.03.2023 @ Post Punkdemic Chill Varco - Cuneo

Contact:
simone.sims.longo@hotmail.com

Fragile

Simone Sims Longo