The 10 exercises have been developed since 2009 as part of my listening workshops. Their final version has been completed in 2016 with a residency at Overtoon and an exhibition at iMAL. Concept & realisation: Davide Tidoni / Production: Overtoon & Davide Tidoni / Graphics: Davide Tidoni & Marzia Dalfini / Editor: Brian Shabaglian.
DOWNLOAD THE PDF BOOKLET WITH THE EXERCISES
A different edition of the work with new graphic layout and illustrations has been designed and published by ATTO in november 2016. See it and buy it here
The project THE SOUND OF NORMALIZATION is a collection of audio recordings that documents the chants of the Ultras group Brescia 1911. The recordings were taken over a period of 13 years and cover different topics such as: 1) creation, uses and meanings of the chants 2) group principles and collective identity 3) audience participation and the process of social exclusion from the stadium 4) police repression and the political implications of the chants 5) the evolution of the drumming in relation to the drums ban-order of 2007. Each recording comes with a short text that introduces it. If you are interested read more about the project here
DOWNLOAD THE 30 PAGES BOOKLET THAT COMES TOGETHER WITH THE AUDIO ARCHIVE
LISTEN TO THE AUDIO ARCHIVE.
The booklet was designed by graphic designer Marzia Dalfini
ON LISTENING BOOK
Written in the form of a theatre script, my contribution to the book “On Listening” tells about the adventures of an attentive listener who is trying to capture the acoustic quality of a strictly surveilled area situated in the financial centre of London. READERS ARE INVITED TO PERFORM THE SCRIPT IN AND AROUND THE AREA OF THE BARBICAN ESTATE. DOWNLOAD THE PDF VERSION OF MY TEXT. The book is edited by Angus Carlyle and Cathy Lane and published by RGAP / CRiSAP. More about the book on the CRiSAP website.
IN THE FIELD BOOK
This publication includes an interview where I talk about my personal way of taking sound recording. The main themes that I discuss in the interview are: i) the recordist as a performer ii) the act of recording as an intervention, and iii) the microphone as a material object. //// DOWNLOAD MY CONTRIBUTION TO THE BOOK \\\\ Order the book here.