Every day program

Installations/exibitions/videos open each day of the festival


Bill Viola - I Do Not Know What It Is I Am Like

5th july - Teatro Limonaia I - 5.30 PM

6th/11th july - Teatro Limonaia I - 11.00 AM


Alfonso Belfiore* - SPAWN, make the game

4th july – Garden/Teatro Limonaia I - 6.00 PM

5th/13th july – Garden/Room 1 - 10.00 AM/7.00 PM


Jeremy Turner – Redacted

4th july – Garden - 6.00 PM

5th/13th july – Garden - 10.00 AM/7.00 PM


Audiotopie - Parallel Circles/Prospettive

4th july – Garden - 6.00 PM

5th/13th july – Garden - 10.00 AM/7.00 PM


Apparati Effimeri - Naturalis Historia

4th july – Room 2 - 7.30 PM

5th/13th july – Room 2 - 10.00 AM/7.00 PM


Marco Ligabue* - Pietro Grossi: un pensiero al futuro

4th july – Room 3 - 7.30 PM/8.30 PM

5th/13 luglio – Room 3, ore 10.00/11.00


Colletive video installation – various authors

4th july – Room 3 - 8.30 PM

5th/13th july – Room 3 - 10.00 AM/7.00 PM


Emanuele Giorgetti - Oikeiosis, Spiriti ancestrali

4th july – Room 4 - 7.30 PM

5th/13th july – Room 4 - 10.00 AM/7.00 PM


Gelareh Soleimani Lavasani* - Dove vola la nostra voce?

4th july – Room 5 - 7.30 PM

5th/13th july – Room 5 - 10.00 AM/7.00 PM



Master class Multimedia Ensemble Lab

Esther Lamneck

New York University

The Steinhardt School of Culture, Education and Human Development

Dept Mus. & Perf. Arts Prof.

4th july – Teatro Limonaia II, - 3.00 PM/5.00 PM

5th/13th july – Teatro Limonaia II, - 3.00 PM/7.00 PM



Installations note


Alfonso Belfiore* - SPAWN, make the game

Interactive multimedia installation for sounds, images, DEVA Powersoft devices and people.

Idea, project and realization - Alfonso Belfiore

Technical support and realization - Roberto Neri

Collaboration and technical support - Powersoft

Every moment of our life, our existence is bound to a place, a place where space, be it even happen. A moment that will find its extension, its extension, its meaning, in memory, in our minds. Therefore there is a deep connection between space, time and psyche. The capture of an image is perhaps the illusion of having grabbed one of those moments, to have frozen its meaning, to be able to dispose of its energy, its power. Thus, for the visitor, the discovery of their image within the work, immersed in the flow of images, is the acknowledgment of the inevitable participation of one's being to the history and life, while the transfigured vision of its image fully reveals new aspects of their identity lived at that time almost with the eyes of others.


Jeremy Turner - Redacted

Redaction is a process usually applied to documents where textual information is struck out by the application of a heavy black and impervious line. This may be a result of a need to censor information, or for the context of a document to be removed to provide for an objective reading.  As a result, information is denied and an understanding of the document itself is potentially compromised. This work utilises the spirit of redaction in a three dimensional form. Familiar and mundane objects, objects that are taken for granted or go unnoticed become richly unfamiliar and enigmatic as they undergo a simple wrapping process. Original form, though distorted, retains sufficient information to visually resonate its source. Not only is an examination of the work itself promoted, but also a revisiting of those objects we normally ignore.


Audiotopie - Parallel Circles/Prospettive

Key words: Heightened audio reality/Interactive experience in situ/On-site composition/


Parallel circles offers a parallel audio reality in real time that responds to the listener’s movements through a place. This interactive composition of forms and sounds works in harmony with the listener’s surroundings and the structure of each site. This project reimagines the environment, enriching it with a creative, audible, sensory experience-an environment that thrives on mobile satellite technology!

Space: Geometry and land

The project involves the placement of geometric shapes in open spaces such as parks, woods, and parking lots-spaces that are significant to the area. These shapes are generated using a program we have developed and may be accessed through an iPhone application that is available freely from the App Store. They will be generated by a series of geolocated points to form circles, triangles, squares, rectangles, straight lines, and a combination of these shapes that will blend in with the aesthetic organization of the area in which they are situated, reflecting its geometry, dialoguing with it, or offering a new formal proposition that contrasts with the existing one. These shapes could be taken for a piece of land art or the trace of a UFO, but they derive meaning in the confrontation between the real and the virtual-that is, the site and the sound creation. At a time when the use of digital maps on the Web is highly popular, the project creates a heightened reality through sound, as if map and land have become one, visible on the screen yet, more importantly, audible at the actual site.

Time: Participation and interaction

As users cross these geometric shapes through the city, they will trigger a composition and heightened soundscape, the duration of which will be under their control. The listener becomes a sort of composer and activates his or her own soundscape according to the path he or she chooses to take. The sounds that make up the composition and soundscapes are linked to geographic coordinates and are generated in any of the following three ways:

• triggered: the reading of a sound is simply set off by a geographical coordinate;

• zoned: the sound is read in a loop in a given perimeter around a geographical coordinate. The listener may follow these geometric shapes and return to them several times, playing with formal possibilities (of movement and composition). This new way of composing allows the body to make the site and the city resonate with sound. The land itself becomes a kind of score with sound emanating from its constituent parts. Like a musical instrument, it produces sounds, activated by the body in motion.

Each sound source contains a playlist - a series of sounds that are heard successively at each geographical point, so that compositions and scenarios can be created and allowed to evolve according to the listener’s own path. Returning to the same place will trigger a new sound, in a determined or a random order.

Apparati Effimeri - Naturalis Historia

Apparati Effimeri took part to the Digital life 2012 (Digital section of Roma, Europa Festival ), with the garden projection Naturalis Historia, a video projection made by the use of real trees and shrubs specifically set up inside of the space Ex-Gil in Trastevere. The 3d projection employed to the vegetation, which compose the garden have wrapped the audience in a dreamlike and wonderful atmosphere which altered the perception of space helping to enhance their prospects. Apparati Effimeri has increased the study of natural elements, that has begun with the experience of Wagner’s Parsifal directed by Romeo Castellucci continued with the old herbals of Ulisse Aldrovandi Life and Limb for the project and came here to the meeting with the fundamental text for all studies physical and natural sciences: the encyclopedia Naturalis Historia of Pliny the Elder (Como, AD 23 – Stabia, 79 AD). The user was immersed in a forest the first light of dawn, when the leaves acquire pearly shades and everything happens in a size changing and changeable.


Marco Ligabue* - Pietro Grossi: un pensiero al futuro

A short presentation of life, works adideas ofPietro Grossi, italian pioneer of electroacoustic and digital music. The speech will present the pieces of the installation with music of Grossi, their typologies and concepts behind, explaining his creative path.


Emanuele Giorgetti - Oikeiosis, Spiriti ancestrali

Oikeiois, Spiriti Ancestrali was installed for the first time in January 2014 for the final exam of the course of Music and New Technology in the Conservatorio Cherubini in Florence. The purpose of the opera is to act like the burning bush described by the Book of Exodus. The listener attracted by a totem would sit down on the chair in front of it triggering the performance. The relation 1 on 1 between the listener and the totem, the mirroring effect and the closed environment promote a personal journey. The journey is guided by the ancestral spirits who inspired the composition, made by 16 micro-composition, each one represent a totem animal. Synthetic and concrete sounds, searchedand taken from the world of internet are edited and shaped in an opera of 17 minutes. A video is placed in the middle of the totem and act like a mirror for the person who's sitting in front of it. Arduino manages the automations. Everything in the opera is very rational in contrast to spirituality. This is Oikeiosis.


Gelareh Soleimani Lavasani* - Dove vola la nostra voce?

At this time, I believe that our words are not able to express what we are experiencing, in every breath, in every step of our life, in every moment of our days ...days that could pass as those of thousands of other people in the world, days full of joy and beauty, green and hope for the future ... a future of freedom flowing in our voice, a voice lost that we do not know where it flies!



Colletive video installation – various authors

4th july – Room 3 - 8.30 PM

5th/13th july – Room 3 - 10.00 AM/7.00 PM



Josè Garcia Lopez

Komm wie du bist! Come as You Are/“A Tour Diary”, video documentary (34’00”)


Nicola Giannini

Violent dinner (4’24”)


Gelareh Soleimani*

In mezzo al nulla (5’00”)


Giovanna Bartolomei/Edoardo Dinelli

Dominio ulteriore (6’11”)


Paola Lopreiato

Un cuore sotto una sottana (4’04”)  


Andrea Venturoli

La cassa (7’47”)


Mattia Borghi

Onirico (12’12”)


Jaime Andrés Ramos Pérez

09:10 am (7’15”) 


Matteo Masi (music)

Berlin akte 1, from Berlin - Die Sinfonie der Groβstadt di Walter Ruttmann (10’00”)


Giorgio Albiani

Pensieri invisibili (3’00”)


Program Notes

Josè Garcia Lopez - Komm Wie Du Bist! Come as You Are/"A Tour Diary"

A 30-minute multi-media presentation telling the story of several trips to seven cities in four different continents: Shanghai, Nairobi, Mexico City, Jerusalem, Berlin, La Habana and Rio de Janeiro; various meetings with people who were willing to share part of their experiences and journeys in life.  The stories are narrated both in first person and some in third person.  

These are the cities where the author has toured with Gen Rosso where he currently works, since the group has provided possibilities to meet many people from diverse social, political and religious origins.  Every encounter has been a reciprocal enrichment; fragments of life experiences shared in a single work.


Nicola Giannini - Violent dinner

Violent Dinner is a Mixed Media work. The video track and the audio track definitely coexist. The video technique is Live Action, while the Electroacoustic Composition is characterized by the use of Field Recording and Vocoding, as main technical strategies. The piece consists of two main parts, these parts are subdivided in other two sequences. The composition leitmotiv are some drops that are falling on a surface. The main elements, such as - drops, metal and glass sounds, tools sounds and spatters - report what is happening. The work is characterized by an equivocal cause-and-effect relationship, due to an ambiguous use of sound-image synchrony.


Gelareh Soleimani* - In mezzo al nulla

'I feel myself in the middle of clouds which speak without knowing how to speak, which love without knowing how to love, which walk without knowing how to walk... I feel myself in the middle of the birth of a poem of glances which finish, with the traces of a sigh, in nothing...


Giovanna Bartolomei/Edoardo Dinelli - Dominio ulteriore

Dominio ulteriore was born some years ago in a tonal and acoustic form, titled Sudio for 2 harps and piano. Composed in a short period of time and split by a trip to Ireland, it keeps its original acoustic form without being modified or altered. Until now. The main idea still runs through this new version, yet adding a “further domain” or a different range, within which electronics takes part into the musical discourse, amplifying it. So Reverb defines music layers between melodies and accompaniments, filters and delay paint music gestures and granulators brake long piano notes. 


Paola Lopreiato - Un cuore sotto una sottana

The video material used in the piece Un cuore sotto una sottana is recorded in Australia. The video shows a beautiful countryside and the legs of young woman repeatedly walking backwards, away from the camera. The shot is static and frontal.

The video material used in the piece Silenzioso, invisibile is recorded in Calabria, the place I grew up. The video shows a street and a lady repeatedly walking forward on the pavement. The shot is static and side view.

Andrea Venturoli - La cassa

In a degraded environment in the suburbs, a hermit has built a wooden case. Through a randomly created hole, that man's eye looks inside the wooden case his fancyfull ego projection, like a charm, the degradation becomes poetry, desire, feeling, through a series of dream episodes. But the monsters that populate the disordered mind of man, in a flash of cold rationality, it would drive them to integrate in the behavior patterns of today's society, but he runs away, in his naive and instinctive way. But is he really running away? "The Case" is not only a video-installation, but rather a silent movie that has been given the gift of sound.


Mattia Borghi - Onirico

Is a dreamlike composition of electroacoustic music that was created with the intent to represent a dream that anyone could do. It plays on a mixture of sounds and images that blend with concrete sounds and abstract images of nature can not be defined, just as in dreams.

The nightlife in contrast to day life, where our activities are diversified and determine certain types of sensations, however, limited to the work performed, may emerge a multitude of emotions of particular relevance in a significantly short time, then the dream world is adequate to represent certain feelings that are in conflict and bear one another in the work.

In this dream are therefore countered by various emotions and images that are part of the conflict has always been present in the life of humanity: the time and the perception of it, the search for an escape from the hectic life caused by environmental elements that engorge the day, the fear of pause and reflection of the material from which they can raise uncomfortable questions (who are they? where I come from?, where am I going?) and phobias such as fear of time passing, the fear of losing loved ones, fear to look back and see that everything is spent in a moment, the fear of death, suffering and loneliness, and finally hope understood as the discharge their suffering on a larger somthing that is not terrain but afterlife


Jaime Andrés Ramos Pérez - 09:10 am

09:10 am has been composed using as a starting point the audio recording of president Salvador Allende's last speech, broadcasted by Radio Magallanes to the Chilean people the very morning of the coup d’état on the 11th of September 1973. The elements that conform the piece are the broadcast recording of Allende's speech accompanied by a crafted underscoring of synthesized sounds. The speech itself has been utilized as a sound object, which has been electronically modified to enhance its inner musical elements (melody and rhythm) present in how Allende read the speech to the nation. The sounds that conform the soundtrack have been used to highlight the meanings and emotions of the speech itself, emphasizing the sensations of tension and relax in connection to the speech’s inner melody and rhythm.


Matteo Masi (music)

Berlin akte 1, from Berlin - Die Sinfonie der Groβstadt di Walter Ruttmann

This is an adaptation of the first act of Walter Ruttmann’s film/documentary, for an Italian “localization” of music, written by Matteo Masi.

Berlin – Die sinfonie der Großstadt is a silent motion pictures directed by Walter Ruttmann. It premiered at the Tauentzien-Plast in Berlin, on September 23rd 1927. The original score was written by Edmund Meisel. This is a geographically but above all temporaily “localized” version that uses means and expressive languages of electroacustic music, in addition to the technical possibilities that, from the sound era forward, have made possible a more precise narrative unity between sound and image (the synchronization). It therefore possible, through the element of music, to radically revisit this Ruttmann’s movie.


Giorgio Albiani - Pensieri invisibili

multimedia work of Giorgio Albiani - in collaboration with Serena Meloni and Giammarco Rossi/At night the strip of overtaking, omnipresent and always equal to itself the sound of the road and the engine cradle you in the lap of a car. Throughout the time of the trip, successive thoughts and moods intimate and deep, alternating with other fruit combinations of messy. This is nothing more than an "attempt" media to tell the thoughts that inhabit a trip.



Marco Ligabue* - Pietro Grossi: un pensiero al futuro

4th july – Room 3, 7.30 PM/8.30 PM

5th/13th july – Room 3, 10.00 AM/11.00 AM


Ante Bit (1961 - 1966)


Tre Sketches

Tema dell'Offerta musicale di J. S. Bach - Permutazioni


Post Bit - Ante TAU2 (1965 - 1974)

Capriccio n. 1 di N. Paganini

Polifonia (frammento)

Unending music


Post Bit - Post TAU2 (1975 - 1985)

Bourrèe di G.F. Handel

Ricercare a 6 voci (dall'Offerta musicale di J. S. Bach)

Sound life n∞ 1

Preludio e fuga di P. Grossi (opera del 1942, originariamente per 15 strumenti)

1∞ tempo della Sonata op. 27 n∞ 2

Variazione temporale del brano precedente

Valzer di F. Chopin

Sound life n∞ 2

Preludio di G. Gershwin

Rag-Time di S. Joplin

Mixed unicum

Il volo del calabrone di N.A. Rimsky-Korsakof

Galop di R. Marenco

Sound life n∞ 11

The stars and stripes forever di J. P. Sousa

Blob music (frammento)