Field Studies Vol.1 is a collection of recordings made in Topolò, Giuliano Teatino and Cesenatico. The recordings are almost unprocessed, electronic and electro-acoustic sounds are superimposed to highlight an event or a character of the recording. The audio image preserves the immersive quality of hi-fi recordings but it is contaminated by external agents, becoming slightly unreal, and changing in balance, colour and tone.

Realized with the support of Stazione di Topolò.

Two long tracks composed around recordings of winter sounds of my hometown, realized with a Doepfer Dark Energy analog synth and with a very minimal Doepfer A-100 modular set.

Fontana Mix is a piece by John Cage composed in 1958. The score consists of white sheets with curved lines, transparent sheets with dots, a straight line and a grid, to be superimposed by the player in order to create a structure for a performance or a recorded piece. Cage himself recorded a tape version of the piece in Milan in 1959. The piece has a unique balance between alea and strictness, and these realizations required precision, respect and almost five months of work. As suggested by John Cage in the score instructions sounds were divided into categories (in this particular case: field recordings, dictaphone recordings, electronic sounds, radio interferences, sounds of objects, sounds of objects producing white noise); for each version 40 tracks were used, filtered by different sets of speakers, and processed with different parameters according to the intersections of the lines of the score.

The two versions presented here were realized using original audio material, from my archive and specifically produced for the piece.

Field Studies Vol.4 is a new collection of tracks, including field recordings made in Seneghe, Giuliano Teatino, Mondaino and Topolò. The recordings are in relationship with minimal electronic sounds created with a Doepfer A-100 modular synth, dc-motors and tape machines. These tracks are an attempt to find a balance between environmental sounds and electronics, creating together a new, unreal place.

Realized with support of Cabudanne de Sos Poetas/Settembre dei Poeti, Seneghe, Stazione di Topolò.

In 2019, inspired by south-korean artist Jin Sangtae's daily recordings, I started an audio journal, recording one minute every day with a portable cassette recorder. The project is an ongoing archive, consisting of sounds I encounter in my daily life, filtered by the low-fi quality of the tape recorder. On occasion of Nobody's Indiscipline 2019, a practice sharing platform organized by Annamaria Ajmone and Sara Leghissa, my cassette recorder was shared by 20 artists for a week, temporarily turning the project into a collective journal of the event.

In September 2022, during a residency at ORA | Orobie Residenze Artistiche, I organized a selection of the recordings in the form presented here.

The recordings include portions of a sleeping concert by Giovanni Lami, a soundcheck by Giovanni Di Domenico and of “Fisica Dell'Aspra Comunione” a dance piece by Claudia Castellucci with Compagnia Mòra. Thanks for the permission to use the recordings.

Realized with the support of ORA | Orobie Residenze Artistiche/IntercettAzioni Centro di Residenza Artistica della Lombardia and Nobody's Indiscipline Milan.

Field Studies Vol.6 is a work on the swamp of Padule di Fucecchio, the largest inland wet area of Italy.

Invited by Nub Project Space to work on its soundscape, I visited Padule four times between October and June, recording the sounds I encountered, mainly birds, insects and reeds. 

Despite being an incredibly silent and quiet place, Padule can also be harsh and inhospitable, the tracks resulting from the elaboration of the field recordings with tape loops and a Doepfer A-100 modular synthesizer try to reflect this peculiarity.

Produced by Nub Project Space with the contribution of Fondazione Cassa di Risparmio Pistoia e Pescia.

Field Studies Vol.7 is a collection of field recordings made during a four months residency at Zaratan Arte Contemporânea in Lisbon.
The recordings took place in various spots of the riverside in the city of Lisbon and in Barreiro, and then they were treated with tape machines, distortion pedals and with superimposing electronic interventions.

All the electronic sounds were generated with a DIY two panel Serge paperface modular synthesizer built during the residency, a machine with a unique sound and a design strongly encouraging intuition and experimentation.

Produced with the support of Zaratan Arte Contemporânea and Culture Moves Europe.