How does the environment stimulate the sound and movement production?
How much sound augments perception of our presence?
How should listening sensitiveness and holistic perception be trained in order to make you able to transfigure experiences, to evoke symbols, to act in real life?
Environmental Sound Interventionist is an upload area in which I store sonic actions. This research regards: sound actions / sound phenomena / sonorous contexts.
Environmental Sound Interventionist summarizes actions deeply involved in any active sound-space relation.
Environmental Sound Interventionist is a project of auto-didactic formation. Its experiential character aims to augment one's own receptive and behavioral abilities.
Every action is a learning exercise in sound-gesture / sound-production / sound-reception, a sort of training in heightening sensitivity to the point of improving the sonorous-environmental consciousness that we are immersed in.
We should learn how to decode spaces and places using aural scanning.
Download projects.
This is an example of how bad design can be funny. It's evident that these crossing lights don't work properly. They sound all the time and without any sense. The interesting thing is that you can interact with it by breaking the tempo, creating rhythmic polyphonies and so on. There are some apartments close to them... I don't even want to imagine the diseases they cause. It's like living together with the huge clock that ticks outside your window measuring your time, whether you want it or not.
Here you find an alternative version to the famous film by the Lumière Brothers "L'Arrivée d'un train à La Ciotat" (1895). Legend has it that – because of the impression of reality and strong impact – when it was first shown, people screamed with fear and run from the room convinced that there was a real train behind the screen. Nowadays you would like to escape from the train stations because of the noise they produce. Luckily – if your hands are free – you can always close your ears.
One time I found an interactive entry phone. The closer I was moving my hand to the appliance, the more inaudible was becoming its sound. Feedback noise as a gesture/motion generator. It measures your position respect to the entry phone. Track yourself using feedback.
This action was filmed in the Interzona main room just a few days before its closing. The musicians involved in the discovering process were Giuseppe Mondini and Enzo Cimino. This was one of the first experiments on organized improvisation and live-conduction.
I found this huge reverberant room in an abandoned industrial area. It was totally dark inside. The reverb is the original one recorded in the room. A simple and pure physical action, this is what the space suggests. Massive and alienating constructions demand spaces for liberation, freedom and expression. We need to regain more physical interaction with spaces, more instinctive and even violent relation.
Gordon Matta-Clark has shown us how to destroy, negate and rebuilt private/public spaces. This need is still the necessity of our experience. How to reconstruct our relations with functional spaces that surround us? How can one's own space become part of public space, how can it be present in public space? Is public space open to every single human manifestation? How much do we need open spaces to liberate ourselves? Are open spaces built to accept us ...?
