Sounding out & SEAMS

I created an immersive responsive art installation “Sounding out”, incorporating a tool that analyses emotions in people speeches, detecting inner states by how emotions influence the distribution of energy in the audio signal.  I also designed a second installation, “Seams”, to exemplify the process of analysing and detecting each emotion.I examined the physical features of emotions (body and environment, acoustic and psychoacoustic) as sites where the interior and exterior meet, all combined in the process of being and becoming. Addressing the physical world and taking a phenomenological approach is important in my artistic research, because what we experience through our body is the substrate for the appearance of our feelings, emotions and thoughts. My investigation originates from the idea that body, environment and cognition are connected, and that inner states are not a product of our mind or brain but a seamless relation between body, mind and environment.

“Sounding out” and “Seams”, are two separate installations that share their content using different perspectives. On the one hand “Sounding out” has as its core the “energy band analyser”; it is a live interactive installation in which the audio signal from the participant is captured by a microphone and analysed in real time. On the other hand, “Seams” is not interactive in the sense that no live information is produced or detected (except for the movement of the head of the participant wearing the goggles) but it is an immersive art experience that shows the contents of my research; this installation is a way for people to visualise the patterns of emotions in sound, a sort of phenomenological approach to my research content and findings. This second installation is meant to address the topic from a different perspective in order to give people a figurative as well as practical overview of this study.




Non mi bastava il ricordo

Non mi bastava il ricordo is an audiovisual interactive installation started during an artist residency at the Bundanon Trust in Australia. The video recordings that are part of this installation were, in fact, mostly filmed in Australia between Bundanon and Riversdale (west cambewarra) in December 2010.

The project, therefore, comes from a recent life experience but also includes images and memories from my past, from the region where I grew up in south of Italy (Calabria). The meaning of this interactive video installation is contained in places and memories. It’s a video installation that comes from the desire to connect, interact and to merge the world I’ve discovered in Australia, which is new to me, unknown, distant and unfamiliar to the world I come from: the usual, the fully internalised, my roots, my past…

non mi bastava il ricordo firenze.jpg


It is an installation that incorporates in one environment 14 monitors and which has as its main characteristic the creation and representation of repetition of gestures throught the videos broadcasted on the monitors. This representation of the multiple repetition of daily actions and not, is constantly changing and totally engages the viewers, making them also an integral part of the work. The repetition generates concentration and distraction at the same time, focus and shade of the observed object. The viewers are not placed in front of the work in a detached manner, but they are in it as if they were in a parallel reality. The monitors are placed around the room and the viewers in order to observe have to enter and observe the installation from different points of view and listening. The movements of the public and its various points of view and ways of enjoying the work determine the change of the installation, even changing the outcome of the work and its interpretations. The subject of the images in the video is repeated gesture and the eternal return; the multiplicity of monitors spread in the room amplifies, intensifies and reinforces the meaning and content of the videos themselves:

"Repetition is possible, and which is the meaninig of repetition? One thing gains or loses to be repeated? (...) The repetition is a crucial term that expresses what “reminiscence” was for the Greeks. Greeks taught that every knowledge is a recollection: in the same way the philosophy of our day proclaims that all life is a repetition. Repetition and memory are the same movement, but in two opposite directions. Because the object of remembrance was, is the direct repetition backwards, but the repetition itself is the remembrance directed forward (...) those who lived must acknowledge, if hey have courage, that life is a repetition (…) "

From the book the repetition of Soren Kierkegaard.


pieces and parts - Halka

This installation explores the relationship between the two components of memory, identity and self-consciousness. The elements of this project are: Pieces of puzzles, puzzle of myself, video of Istanbul, empty luggage, music, taste and smell. The main topic is memory. In the design process, I conducted a literature review that led me to the statement that memory has always been associated with identity, which, as knowledge, is mostly derived from and strongly affected by the relationships we have with the environment and with people around us. The standpoint from which we come to understand ourselves and become self-conscious is mainly through our relationships with others and places, which led me to the idea that experience and memories of experience are what create us. 

[…] Philosophers and psychologists have argued that having an understanding of who one is requires access to memories and, in particular, those relevant to our personal experiences […] Indeed, this interdependence between self and memory has been acknowledged for some time and the dynamics of this relationship are coherently summarized in the fact that ‘self and memory organize, construct and give meaning to each other in a way so intimate that we can truly say that we are what we remember and that our memories are ourselves […]

Certainly, identity and knowledge of who we are and what the world is are not based entirely on our memories, and the complexity of the self cannot be reduced to just our capacity to remember. Nevertheless, memory indeed plays a very important role and every experience we collect in our brain will be a lifelong part of us. In this work, I chose puzzles as a symbol of the little pieces that are the basis of our identity; I left puzzles incomplete because this reflected my belief that each experience is incorporated only in little separated pieces inside what I call my identity and self-consciousness. The puzzle of myself is the only one that is put together, so as to express that all our memories and experiences create the whole that we call identity. Memories themselves are randomly fragmented and kept in my personality, my background, and my culture; in a word my 'luggage'. Everything I have inside is like luggage that I bring with me; the empty luggage around the one suitcase full of puzzle pieces represents my future experiences, travels, the people I will meet and memories I will create. In my life, I have always tried to carry out empirical and spiritual research to find symbols to metaphorically express my findings or simply my experience of searching and living. The question of memory and how it is activated is certainly more complex than a collection of frozen pieces in our brains or even reducible to a simple synaptic neurotransmission. Our brain and memory system do not work in this way and memories are not fixed pieces in a static shape that, once recalled, will perfectly fit together.

[...] “Memories are system properties, dynamic, dependent, for each of us, on our own unique individual history. What they absolutely are not is “stored” in the brain in the way a computer stores a file. Biological memories are living meaning no dead information […] memory is an active not passive event, and draws on a variety of cognitive and affective processes”