The Sound of Normalisation



The project THE SOUND OF NORMALISATION is a collection of audio recordings that documents the sound culture of the Ultras group Brescia 1911 in relation to modern football and the wave of repressive measures targeted at organized supporters groups. The recordings were taken over a period of 15 years and cover: 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 introductory text and is presented as a video with subtitles. The work has been published in 2018 by SARU, Oxford Brookes University. DOWNLOAD THE PDF VERSION OF THE PUBLICATION

Since early 2000 I’ve been researching football supporter subculture, audience participation and crowd regulation. The overall research concerns the nexus of public space, social performance and surveillance in contemporary Italian football.

The aim of the research is to trace mechanisms of social interaction and aesthetic creation in football supporters’ subculture via an examination of the sound practices shared by the group Brescia 1911. Relations between sound production and space construction are investigated especially in the light of dynamics of social control adopted in football grounds in the last years.

My research contributes to a better understanding of sound’s function in group formation and collective identity as well as how sound performance and social repertoire evolve in relation to public security measures and space control.

In 2015, a first concrete materialization of the project has been exhibited at ARGOS, centre for art and media, Brussels. In 2018, the final version of the project has been presented at GET SOME CHALK ON YOUR BOOTS! an exhibition and conference organized by SARU at Oxford Brookes University.

Over the years I have developed connections with people who helped me to clarify my research focus and expressed sincere interest in my research. A bit thanks to: Tia DeNora, whose Sociology of Music course at University of Exeter I visited in Autumn 2009 and Jonathan Sterne, whose Sound Studies course at McGill University I visited in Autumn 2008, Raviv Ganchrow, whose SoundSpace course at the Sonology Institute in Den Haag I visited in 2013, and the staff at SoundImageCulture, an experimental ethnography course that I took in 2014 in Brussels.

My greatest respect and affection go to the football supporters group BRESCIA 1911. MAI PAGATI MAI SCAPPATI – ULTRAS LIBERI!!!