research

He Hears The Silence So Loud

BURNT LOUDSPEAKER

burnt loudspeaker burnt

FOOTBALL CHANTS CLASS

Here is the online version of the radio-performance FOOTBALL CHANTS CLASS that I made for Radio PicNic/Freies Radio in Berlin auf 88.4 MhZ on the 26th of April. Following the presentation of football supporters’ vocal techniques and know-how, a small choir learns and performs a selected number of football chants. The piece emphasizes the responsive nature of football-chanting as a situated real-time improvisation that unfolds in relation to the match and to the overall context of the stadium. The chants used for the piece come from the ultras group BRESCIA 1911. For a deeper insight about football chanting see the audio archive project THE SOUND OF NORMALIZATION

Football Chants

Memories of a Pigeon Shooter



An elderly man tells about his former career as amateur pigeon shooter. After telling about his prizes and victories, the meaning of his stories slowly comes to surface: the desire to remain somehow attached to his life memories and not be forgotten.
Playback Instructions:

- You don’t have to concentrate on every word that the shooter says. Feel free to walk around while he’s talking.
- If the monologue exceeds your personal physical tolerance, leave the room where the recording is playing so that the shooter would suddenly find himself speaking alone with nobody listening to him (he would then realize that he has been talking for too long).
- If you like it, you can play the piece in loop, like an extended mantra. The shooter would be happy to have somebody listening to him over and over again.

Here I Am

throughthewindow



1) The performer is outside with a microphone in his hand.
2) The audience is inside and is listening to the performer from a loudspeaker that is connected to the microphone outside.
3) The performer tries to throw the microphone through the window and reach the inside where the audience is listening.
4) When the microphone enters the inside, the high gain volume (excitement) and the reduced distance (encounter) between microphone and loudspeaker produce an acoustic feedback.
5) In this way, the performer, who is metaphorically embodied in the microphone, finally meets his audience.

Together As One

from a distance



A drumset is separated in its basic elements: a bass drum, a snare and a hi hat.
Each of the performers plays a different element.
The performers stand in circle very close to each other and begin to play single strokes one at a time.
All the strokes are in relation together and contribute to the creation of a rhythmic pattern.
While they play, the performers break the circle and start to move away from each other.
The rhythmic pattern transforms in relation to the acoustic of the space and to the distance between the performers.

I Can’t Give You Anything But Myself



To the ones I love. To the ones I hate.
I can’t give you anything but myself.
Always be human. Always be you.

Hatebreeders



This is my personal version of “Hatebreeders”, a song by the hardcore punk band The Misfits. O O O HATEBREEDERS O O O, O O O O O HATEBREEDERS O O O !!!

Solid Body

solid body

A body moves in space modulating the acoustic feedback that occours between microphone and loudspeaker. According to the position occupied, the body can block or activate the feedback.

Starting from the exploration of the physical nature of sound waves (frequency and wave lenght), the performance reveals the capacity of the body to filter and alter the propagation of sound in space.

Video 1 – Rehearsals: https://vimeo.com/118521780 (password is “ciao”)
Video 2 – Live Performance: https://vimeo.com/119800367 (password is “ciao”)

The City Is On Fire

the city is on fire

WE PROVOKE THE CITY AND LISTEN TO ITS RESPONSE
EACH EXPLOSION LEADS TO A CONFLICT
EACH EXPLOSION LEADS TO AN ENCOUNTER
EACH EXPLOSION LEADS TO A DIALOGUE
SET THE FUSE ON FIRE AND GET READY FOR CONFRONTATION

1) The group walks in the city at night-time looking for places where to burst firecrackers.
2) The group moves silently, like in a sabotage action.
3) Once the firecracker is set off, the group concentrates on the impact of the bang.

Hit The Building

HIT THE BUILDING

The walk takes place at night.
Participants have to bring along a stick and an object to hit (ex: a paint bucket).
Each participant walks alone beating very simple and minimal rhythms (start from the beat of your own pace).
Everybody can take a different path.
Attention goes to the reflections bouncing off the walls of the builidings.
There’s no listening without intervention.

(Fail We May) Sail We Must



The work consists of two recordings of music classes. Musicians learn new compositions and practice them over and over until they get them and perform them well. Their training encourages to see failure and achievement as part of the same growth process. There’s no mistake you can’t learn from.

“Don’t let the bastards grind you down
Don’t you dare to go under
Don’t let them steal your thunder”
Lemmy/Motorhead.

This Kind of Hugs



What would a 8 years old boy play to his girlfriend? Two of the sweetest compositions you have ever heard… Like cuddling in bed and falling asleep.

This Is My House



The voice of a little boy take us on a tour of his house.

LIVE COMMENTARY (with METEOR)



Here’s a example of an alternative ways to document live gigs. I play the role of the commentator, not only discussing about the band and singing their songs but also interacting with the whole context of the live show.