Research Catalogue

SWEAT - YoNoSudoBrillo Two weeks workshop held in Benidorm, Spain, in August 2024. In the context of EASA, European Architecture Students Assembly 2024 event. Tutored by Diana Ferro and Angelo Ciccaglione. 𝐼𝓉’𝓈 𝒶𝓁𝓁 𝒶𝒷𝑜𝓊𝓉 𝑒𝓂𝒷𝓇𝒶𝒸𝒾𝓃𝑔 𝓇𝑒𝓁𝒶𝓍𝒶𝓉𝒾𝑜𝓃. 𝐿𝑒𝓉'𝓈 𝑒𝓂𝒷𝒶𝓇𝓀 𝑜𝓃 𝓉𝒽𝒾𝓈 𝒿𝑜𝓊𝓇𝓃𝑒𝓎 𝑜𝒻 𝓌𝑒𝓁𝓁𝓃𝑒𝓈𝓈 𝓉𝑜𝑔𝑒𝓉𝒽𝑒𝓇. In a sauna, people meet strangers and exchange stories while absorbing heat being naked and sweaty. In this workshop we brought the sauna to a step further: we absorbed heat, stories, gestures, words, objects, skills, dreams and sweat them out to other people, re-enacting what we have learned. Also naked, why not. We learnt how to live, how to breathe, how to make a kebab, how to embody old wisdom, how to tie shoes the proper way. All you need is a fan, a towel and a body. A kebab stick, a drink, some snackies. Participants developed a deeper perspective on what it means to operate within a complex identity such as the city and gained skills to open their own kebab shop.

This exposition emerged from my participation in the second interval of the Simultaneous Arrivals (Simularr) Artistic Research Project—a research project inviting international artist-researchers to explore relational, situated, and process-based inquiries in dialogue with core researchers. Core researchers: Nayari Castillo, Hanns Holger Rutz, Franziska Hederer, and Daniele Pozzi. For the second interval, the visual artist and researcher Elena Radaelli and I were invited as visiting artist-researchers. (More information on Simultaneous Arrivals: https://simularr.net/about/) The exposition presents my process during the residency, i.e. my Traces and Paths Towards a Singularly-Plural Companionships. The eight-week residency (3 March-30 April 2024) took place across three sites: Graz (Austria); Lecce, San Cesario (Italy); and Klagenfurt (Austria). The exposition traces this journey through various mediums, including texts, graphics, video and audio material experiments, field encounters, and theoretical companions. My processes, are informed and shaped by my companion collaborators—human (research-creation companions), more-than-human, textual, and material—who co-inform and co-create the unfolding of the research.

Supplement to the presentation proposal 'Anatomy of a (Musical) Ethics Lab'

Just as variety and change are the core principles of nature itself, they seem to be essential for music, too. This research examines doubles in the repertoire for flute between 1700–1750 as a specific type of variation. Originating as a vocal tradition of embellishing the second verses of airs de cour, the tradition continued in instrumental music by creating doubles mostly for songs and dance forms, such as Menuet, Gavotte or Sarabande and remained popular until it gradually evolved into the variation form in the second half of the 18th century. The role of the flute in this repertoire is unique thanks to the vogue of the airs the cour among flautists and composers for flute. The presented exposition traces the development of doubles in the flute repertoire of the first half of the 18th century. Highlighting the variety of unique compositional styles, the research distinguishes between three typological categories of doubles: diminutive, ornamental, and those presented in sets of variations, typical of a Galant sonata. The examination and analysis of a representative number of doubles led me to extract elements and patterns, typical for each category, and, in turn, this thorough study of the doubles allowed me to play them with a better understanding. Finally, the synthesis of both the theoretical and empirical approaches provided enough information and inspiration to compose doubles for other musical pieces from the same period. These newly composed doubles are included in the collection titled L’Art de doubler, attached to the exposition.

This research explores the synergy between auditory and visual sensory impressions, investigating how music and visual arts can merge, interact, and resonate reciprocally to create a unique cross-modal performance. Central to this research is the collaboration with the visual artist Damiano Colombi. The focus is placed on two distinct types of interaction: large canvases enriching the visual space on stage, around which the musician moves, and digital projections created with TouchDesigner, a software that generates real-time visuals reacting to the music. These contrasting approaches shape an immersive experience, transforming sound into moving images and creating a dynamic interplay between structured visual elements and fluid digital projections. A central challenge of this research is to create a balanced interaction between the auditory and visual components, so that each artistic discipline complements and enhances the other, allowing a continuous dialogue between sound and image. Throughout the creative process, these ideas evolved organically, guided by continuous experimentation and reflection. By documenting the sensations, insights, and evolving artistic choices, this research not only explores the theoretical and technical intersections between music and visual arts but also highlights the deeply personal and intuitive nature of interdisciplinary collaboration. Ultimately, this research provides a framework for crafting audiovisual performances that foster a compelling and harmonious fusion of music and visual arts.

This research examines Giovanni Battista Bovicelli’s Regole, passaggi di musica (Venice, 1594), a Renaissance treatise on (vocal) ornamentation. By analyzing Bovicelli’s diminutions, this research aims to identify his characteristic stylistic elements as a composer and singer. Beyond defining these elements, the findings provide a solid foundation for comparing his style with that of Giovanni Bassano, previously studied, and for applying Bovicelli’s techniques in newly written diminutions. More broadly, this study contributes to a deeper understanding of late 16th-century Italian diminution practice. Bovicelli’s treatise offers information for singers about text placement, presents examples of diminutions for various intervals, cadences, and melodic contexts, and includes his own diminuted lines of well-known pieces of the time. This research focuses specifically on the examples of diminutions, analyzing them according to seven musical criteria: note values, range, intervals, melodic sequences, rhythmic patterns and/or sequences, standard figures such as trills and turns, and ficta application. Additionally, in cadences and melodic contexts, the extent to which the original melody is preserved is assessed. The results of this analysis are presented in tables and graphs for a clear overview. Additionally, the research includes a comparative analysis of Bovicelli’s and Bassano’s diminution styles, clarifying both their individual characteristics and, very carefully, broader trends in 16th-century Italian diminution practice. Furthermore, newly composed diminutions in Bovicelli’s style demonstrate the practical application of the findings. These diminutions are written on the well-known Anchor che col partire by Cipriano de Rore (1516-1565).