21-09 / 15-12-2024
editing. Contrastingly, nature has never cared about this aspect, it does not have
consciousness of this, provided that it has consciousness at all. The idea at the core of this
project was how to make these two entities communicate, despite the fact that they have
always been quite distant from each other, in conflict at times, and rarely, able to engage in
a ‘friendly’ dialogue.
The software Real Time has precisely this task. Developed together with LIM, the
Laboratory of Musical Informatics of the Statale University of Milan, it aspires to act as a
super-consciousness that is given the role of relating the natural acoustic landscape to the
human writing of scores.
How does all of this happen? It takes place with a microphone recording that is read by the
software which contains a pre-loaded track, a score, as if it were doing rhythm training
exercises (e.g. solfeggio) in real time. When the software recognises that there is a sound
in the acoustic environment, a noise that has a frequency close to a known one, then it
uses it.
There is no type of pre-sampling or machine learning that investigates the soundscape
such that one would expect from the very idea of software. In this sense it is a software
that denies itself.
In the garden shed, I installed a sound sculpture that I called Joog Box. The word Joog
derives from the Creole, and it means noisy, or messy. For this reason, it matches the
results returned by the real time software which also works within the sculpture and whose
content is related to the composers of the Venetian school. The object itself is made of
super-mirror steel. It mirrors the outer environment. I wanted to further underline the visual
relationship that is at the basis of the work: the clash with nature, here embodied by the
trees, the garden, lawn, the musical score, and the compositions that are contained within
the various tracks.