online platform and virtual research laboratory for sound and art









Alessandra Eramo


Composition for voice, electronics, field recordings, text, video and drawings
(October 2020)


Focussing on the voice in relation to noise and surroundings, in her live-performance Alessandra Eramo composes an original sound collage through extended vocal techniques and the dynamic use of electronics and field recordings, creating a hypnotic soundscape of abstract sounds, fragmented words, non verbal vocalizing, drones, distorted voice and unknown languages. In reference to sound poetry, her performance aims to generate a physical and immersive experience, like a spiritual exercise shared with the listeners.

Alessandra Eramo (IT/DE) is a Berlin-based artist, vocalist who works with sound performance and installation, text-sound composition, video and drawing, exploring latent acoustic territories of the human voice and noise as socio-political matter. Through symbolic narratives and visceral expressions, central to her practice is extending the voice in all its forms and implications in sonic and visual contexts. Gaining international recognition for her unconventional vocal performance art, she has exhibited and performed widely at festivals, radio, museums, galleries and institutions such as: SAVVY Contemporary Berlin, Deutschlandfunk Kultur Klangkunst, Liminaria/Manifesta12 Palermo, Tempo Reale Festival Firenze, 6th Thessaloniki Biennale of Contemporary Art, Transmediale Berlin, Heroines of Sound Festival Berlin, Museum FLUXUS+ Potsdam, Roulette New York, Padiglione Italia nel Mondo/54th Venice Biennale. Co-founder of "Corvo Records - vinyl & sound art production", she's been member of Errant Sound project space in Berlin with among others Brandon LaBelle and Ines Lechleitner, where she also leads her cross-disciplinary workshop "The Space between Voice and Gesture". //

Stefano D’Alessio


Audio / visual, evolving, virtual reality environment
(November 2020)

Firefox recommended


All alone, all together, some in quarantine, some in the streets, some getting shot, some showing off that brand new automatic rifle. Because it’s our right to feel safe and protect our freshly cut green loan. We fall asleep in front of our smart devices, listening to conspiracy lullabies, while breathing ashes coming from too far away to be concerning. Did you see the video of that gigantic glacier breaking down and melting? It looks and sounds amazing! The spectacle of the apocalypse… now available in stream party! bad as it seems is a virtual environment built in Mozilla Hubs, available for visitors to be experienced and explored online. A dome surrounds the space, it shows a 360-degrees video of digitally distorted and heavily compressed wildfire footage, the video pulsate following the intensity of the background sounds, an abstract and dry composition realised by exploring electromagnetic fields. Humanoids characters are distributed in the space, nearly frozen in selfie poses, their movement are subtle, slow and repetitive, their smartphones and heads are swapped. If approached their voice became hearable, each character shares a particular conspiracy theory with the close listener. The environment is dark and noisy, immaterial dark walls slowly move in the space, shading the visitor’s view while an ash-like abstract snow keeps falling.

Stefano D’Alessio (1987 Italy) is a new media artist, composer and educator.

His focus revolves around interactive performances and installations, merging different media through technology and paying special attention to time-based composition.

His research addresses the digitisation of the human in new technologies and the virtual representations of the “real”, with a special focus on the influences that the internet and its derivates have on the human body and human behaviour. Stefano is a musician and composer of electronic and electro-acoustic music, he often collaborates with dance, theatre and video directors and regularly exhibits and performs in international music and new-media art festivals.

Stefano received a bachelor degree in Visual and Performing Art from the IUAV University of Venice and a magister’s degree after studying Transmedia Art with Brigitte Kowanz at the University of Applied Arts Vienna. Since 2010 he has been giving workshops around the globe about interactive media for arts and collaborating with Klaus Obermaier and Martina Menegon on various artistic projects.

Stefano currently lives and works in Vienna (AT).

Francesco Cavaliere


sei cespugli e piante endemiche delle sabbie attorno a Marina di Donoratico (LI)
short poems accompanied with six music miniatures


I spent many months walking in the dunes of Maremma,
Marina di Donoratico, Baratti, and San Vincenzo... They are places that for those who go to the beach
occasionally seem sinister, abandoned, and inadvisable for bathers.

... "no, let's not go too far" ...

Notoriously dirty, run down and inhabited by strangers... these
wooded areas of the Mediterranean beaches are full of treasures
of biological diversity. Flora and fauna adapt to that rough course;
its breath, the sudden change, the depth, the taste, the temperature.

One actually sinks into that blanket of sand. Nobody
passes through it and you can easily observe every slight imprint and sign of life.
One day, I took it upon myself to count the drops in the morning
which solidified in the afternoon. Thousands of conical shapes
impossible to enumerate were if they were sewn in the sand.

At different times of the day, I learnt to recognize some bushes,
succulents, flowers, wild rosemary and large-leaved thorny plants.
Seeking their scientific denominations, I certainly recognized
Euphorbia paralias, Eryngium maritimum and Medicago marina
Euphorbia peplis and Salsola kali .. hard to keep in mind.

Although always in the same place, their colour and blossom seemed
sudden to me, as if from overnight there was a considerable
change in brilliance, texture, and bloom. “Well, the atmospheric agents,
are not so forgiving in these areas..... the salt, the wind, and the sun”. After
becoming passionate about their shapes and changes, I thought I would describe them
in my own way, with some short poetic soundscape compositions that you can
read and listen to on this page.


Francesco Cavaliere (b. 1980 Piombino, Italy) is known for the sensitivity with which he combines sounds, materials and space, His works are capable of enlivening his listeners’ inner states in an imaginative journey populated by ephemeral presences, phenomena generated by glass, minerals and voices recorded using analogue and digital technologies. First introduced to the world through the tape "Neverending Somersault,” is the author and interpreter of the "Gancio Cielo" audio stories, released as a full length LP on the label Hundebiss (IT).

“The basis for Cavaliere’s music is derived from the prowess of his imagination, which at a young age was stimulated by a gift, given to him by his grandma. “At a very young age, my grandmother, who was a music teacher, gave to me a cassette record player. And as I was an only-child, I would sit in my room alone, and have conversations with the record player and my pre recorded voice. I communicated with it.” (Spencer Clark)

Stefano De Ponti



“La natura delle cose ama celarsi” (The nature of things loves to hide) is a path of research in continuous evolution, which deals with the dynamics of massification and accumulation of the creation and fruition processes, put in relation with the inevitable impermanence of everything. Necessity, experience, attention, memory, oblivion, presence, annihilation, abandonment are some of the themes explored through intermedial and transitory works, characterized by a common critical thought towards the dispersion caused by the contemporary mediatic collapse.


Stefano De Ponti

Milan, 1980.
Multimedia craftsman and restless observer, over the years he has collaborated with numerous international artistic realities and institutions, publishing and showing his work in Europe, Russia, Canada and America. Seeker of combinations organized according to the rules of harmony dictated by chance, he places the center of his research along blurred boundaries where sound, matter, ecology and relationship are in connection by each other, with the aim of activating states of mind that are receptive and opened to the dialogue.

Nicola Di Croce



How sounds contribute in shaping the affective atmosphere of a place? Describing affects as active forces that influence bodies, their movements and feelings, the research investigates sounds as affective tonalities, which deeply impact our everyday experience. Moving from outdoor to an on-line environment, the project presents fragments of listening, shards of essays and short notes, and invites the audience to freely associate these elements together, creating an aesthetic object to be archived in a special collection and further called back.


Nicola Di Croce

I am an architect, musician, sound artist, and scholar. I have a PhD in Regional planning and public policies, and I’m currently Postdoctoral research fellow at Iuav University of Venice, Italy. My research deals with the relationship between Urban Studies and Sound Studies. In particular, I’m interested in collaborative and participatory approach to urban policy analysis and design through methodologies emerging within Urban Planning, Urban Sociology and Sound Art practice. Sound is central to my artistic and academic practice, as I intend critical listening a pivotal tool for the investigation of urban and cultural transformations affecting particularly vulnerable areas, such as depopulation, segregation and loss of local identities. Through articles, lectures, compositions, performances, and installations I aim to foster sonic awareness and to empower institutions and local communities, exploring new potentials for urban regeneration, participatory processes and local development.

Leandro Pisano


An audio journey towards future ruralism, experimented through the voices of two villages’ local communities in the Fortore rural region, Southern Italy


The Manifesto of Rural Futurism is a document written by Leandro Pisano and Beatrice Ferrara in 2019, produced as a result of a collective thinking and practical process brought on by artists, scholars, curators, critics and people in the framework of Liminaria, a 5-year project sound art residency and fieldwork-based research platform aimed at developing “sustainable” cultural, social and economic networks in the Fortore rural region, Southern Italy.

As final outcome of the first stage of this project (2014-2018), the Manifesto of Rural Futurism is founded on a series of propositions aiming at rethinking rural areas and re-imagining their possible futures, understanding them as complex spaces actively immersed in the dynamism of encounters, flows and fluxes of contemporary geographies and critically questioning the modernistic discourses of capitalism and metropolitanism in which they are marginalised and considered as doomed to oblivion.

“Rural Futurism” is a critical perspective, in which multiple points of view (and listening) converge: art – and techno-culture(s) more specifically – provide new and striking ways to rethink what ‘rurality’ is (and could be). By interrogating our relationship to memory and the archives of the past, artistic practice reinserts the concept of the ‘rural’ into the framework of contemporary narratives, deconstructing those discourses that relegate it to the status of a mere residue of wider political, economic and cultural processes spanning a global scale.

In its materiality, sound invites us to experience rural locations and abandoned places as spaces in which to question our approach to history and landscape, our sense of living in a specific place and the relationship that we have with it. The sound of environments, spaces and landscapes reveal the challenges and territorial transformations that inform the ideological, infrastructural and biological ecosystems to which we form a part. In this sense, listening practices are deployed as a way to critically traverse the “border territories” of the rural territories, challenging persisting notions about the “inescapable marginality”, “residuality” and “peripherality” of rural areas.

The ten audio tracks presented in this context were recorded by Leandro Pisano and Andrea Cocca in July 2020 in the villages of Baselice and Montefalcone di Valfortore. Each audio piece is based on different readings of the Manifesto of Rural Futurism made by some people of the local communities. I would like to acknowledge the following people for their support of this project: Gianbenedetto Barbato, Clemente Bianco, Michelina Bianco, Maria Bianco, Giovanni Calabrese, Michele Caserio, Ireneo Calò, Sara Esposito, Beatrice Ferrara, Andrea Palazzi, Rocco Palazzi, Agostina Paolozza, Milena Petrucci, Philip Samartzis, Brenda Silvestri, Modesto Silvestri.

Photo credits: Andrea Cocca, Giuliano Mozzillo, Giuseppe Ricci.

Japanese translation of the Manifesto of Rural Futurism by Kanoko Tamura (Art Translators Collective); supervised by Yukiko Shikata

MMFS (Micro Media Festival Seeds) 2020 (2020/6/26 @ DOMMUNE.COM )の際に訳出


翻訳:田村かのこ(Art Translators Collective)


Leandro Pisano is a curator, writer and independent researcher who is interested in intersections between art, sound and technoculture. The specific area of his research deals with political ecology of rural, marginal and remote territories. He is founder and director of Interferenze new arts festival (2003) and frequently he is involved in projects on electronic and sound art, including Mediaterrae Vol.1 (2007), Barsento Mediascape (2013) and Liminaria (2014-18). Among the sonic arts exhibitions he has curated, there are “Otros sonidos, otros paisajes” (MACRO Museum – Rome, Italy, 2017), “Alteridades de lo invisible” (Festival Tsonami, Valparaíso, Chile, 2018) and “Manifesto of Rural Futurism” (Italian Cultural Institute of Melbourne, Australia, 2019). He conducted presentations, conferences and workshops in different universities or during events related with new media aesthetics, design, sound and territorial regeneration processes in several countries worldwide. He has written articles in several magazines, such as Corriere della Sera – La Lettura, Blow-Up, Doppiozero, Neural, Exibart and Nero Magazine. He is author of the book “Nuove geografie del suono. Spazi e territori nell’epoca postdigitale”, published in Milan by Meltemi (2017).

Leandro Pisano holds a PhD in Cultural and Post-Colonial Studies from University of Naples “L’Orientale”, where he is a member of Center for Postcolonial and Gender Studies (CSPG). He is presently Honorary Scientific Fellow in Anglo-American Literature at University of Urbino “Carlo Bo”. He teached as adjunct professor at Academy of Arts in Naples and he has been Honorary Scientific Fellow in Didactics of Latin at University of Naples “Federico II”, where he received his Master degree with honors in Ancient Greek, Latin and Italian Literature, focusing his studies on digital philology, electronic teaching methodology and relationship between new media and classic disciplines.

He currently teaches Ancient Greek, Latin and Italian Literature in the Italian secondary schools.

Enrico Malatesta


A collection of listening exercises/scores dedicated to Pistoia and is aimed at investigating the acoustic phenomena present in some parts of the city


Manicula consists of a collection of listening exercises/scores dedicated to Pistoia and is aimed at investigating the acoustic phenomena present in some parts of the city; the areas of activation of the practices are not declared, but indicated by a reference symbol *. The project is a sort of treasure hunt and does not require the presence and mediation of a performer/artist/guide and there is no personal interaction; each individual decides how to undertake the search for spaces and how to use the available scores to investigate the relationship between sound and space through the use of their body, voice or simple tools.

Manicula is an open project that includes, in addition to the annotations and exercises developed on site by the author, a series of contributions by external artists and researchers who investigate the practices of active listening, the relationship between sound, body and the city, with the intent of offering multiple starting points to the participants; no specific knowledge or skills are required to engage in the proposed listening practices; scores and readers encourage individual initiative towards observation and the intuitive acquisition of the potential of sound.

Enrico Malatesta is an Italian percussionist and sound researcher active in the field of experimental music, sound intervention and performance. His practice explores the relations between sound, space and body, the vitality of materials and the morphology of surfaces, with particular attention to the percussive acts. His research path is characterized by a strong emphasis on the ability to produce multiple information with simple actions, the motion and definition of the experience of listening and sustainability of the presence of the performer through the sound.

Giulia Vismara



Ruins embraces time, stratifies it, and introduces an alternative narrative. Through the invention of what has been, the documentation of present traces, the projection of what could be, Fragment&Recompose speculates on the spatiotemporal dimension of ruins by collapsing the boundaries between present, past and future. Abandonment architectures provide an opportunity to explore how non-human life appropriates what remains. Fragment&Recompose reassembles sounds that have been found in situ to (re)story the ruins.

Giulia Vismara is an electroacoustic composer and researcher. She is mainly concerned with the organic nature of sound and the development of textures which combine concrete and synthetic elements. Her works range from electroacoustic music to sound installation, music for theatre, performance and video art. Space is the key to her work, the matrix that shapes the music as well as the sounds she composes. Through her research she explores "space" as a concept in various contexts, such as architectural, urban, technological and compositional. Currently she has focused on different methods of spatialization and 3D audio diffusion.

XIPE _ Giulia Deval, Ivan Bringas



Inspired by a worldplay by French philosopher Jean Luc Nancy, Ex-peau-sition is a web based / interactive work that asks the visitor to be exposed to five images linked to the iconography of Spellato (“skinned”; without skin, “peau” in French). Each image is associated to a sound sample. The visitor is invited to remove the images layer by layer and re-organize them playing with size, opacity, position and volume of all elements, becoming responsible for a compositional process, in a potentially endless mutation of the surface.

The work is a digression from the project's name, XIPE, “Our Lord the Skinned”, an ancient Mesoamerican deity.


Ivan Bringas _ Guitarra Expansiva
Giulia Deval _ voice, tapes

XIPE is a project developed by Ivan Bringas and Giulia Deval, aiming to create new sonic possibilities by expanding the guitar through innovative interactive electronic and physical elements. The duo combines the guitar with mechanical objects (like a tube or a magnetic tape running inside the guitar’s body) that modify its timber and allow the discovering of new sound gestures that get composed in new folklorist works for guitar, voice, and electronics. XIPE moves with the idea of creating a traditional music for worlds to come, influenced by minimalism, freak folk and improvisation. In 2021, XIPE is invited by, audiovisual research centre of Barcelona, to curate the annual edition of AUDIO FORMAL programme as part of a creative residency.


Ivan Bringas (Mexico City, 10.08.1990) is a guitarist, improviser and composer from Mexico City. His education began very early growing up at Café Jazzorca, a concert center and label founded by his parents that programs musicians engaged in developing their language mainly through improvisation and free jazz. At the age of 10 he entered the Escuela Nacional de Música of UNAM (Universidad Nacional Autonoma de México) to study classical guitar with the masters Juan Carlos Laguna and Marco Iván López Miranda; he finished his studies at Conservatorio Giuseppe Verdi in Turin (Italy) where he is actually based. Over the years he deepened his training by being in contact with musicians such as Leo Brouwer, Víctor Villadangos and Fred Frith. Since 2007 he has been developing the project “Guitarra Expansiva” which won INBA (Instituto Nacional de Bellas Artes de México) award in 2010. He released Guitarra Expansiva in 2011 for Jazzorca Records and Que viva s’aninnia for the Italian label Objet-a in 2015.

Listen / guitarra expansiva / bandcamp


Giulia Deval (Turin, 06.01.1993) works in the field of vocality and sound art. Different formats such as live sets, creation of sound dresses, concerts of imaginary characters and radio plays have as their basic ingredients voice and found analogue electronics. Her project Antes de la Catàstrofe. Rutas Etnográficas 3302, a participatory action for voices and magnetic tapes, passed the pre-selections of Pierre Schaeffer Award announced by INA GRM, GMVL, Phonurgia Nova and Euphonia being among the best 11 projects in 2019 and won MIBACT’s MOVIN’UP / SPETTACOLO PERFORMING ARTS in 2020. She took part to Moondog Project, a Torino Jazz Festival Original Production, together with the Italian ensemble Lapsus Lumine and the musicians Jim Black (drums) and Ernst Reijseger (cello). Her first solo album Terrapolis has been published in 2020 by the Italian label Ambient Noise Session.

Website / Listen / Terrapolis / bandcamp